{"title":"New Arrivals","description":null,"products":[{"product_id":"daido-moriyama-it-2008-first-edition-signed","title":"Daido Moriyama — it, 2008 First Edition (Signed)","description":"\u003ch2\u003eDaido Moriyama — \u003cem\u003eit\u003c\/em\u003e, 2008 First Edition — Signed by the Artist\u003c\/h2\u003e\n\u003cp\u003eA rare signed copy of \u003cem\u003eit\u003c\/em\u003e, one of Daido Moriyama's most celebrated later works. Published in 2008 by Rat Hole Gallery, Tokyo, this bold and visceral photobook captures Moriyama's signature raw street aesthetic — high-contrast, grainy, and intensely immediate. The striking black-and-white polka-dot cover with its distinctive die-cut design has made this one of the most visually iconic photobooks of the 2000s.\u003c\/p\u003e\n\u003cp\u003eThis copy bears a \u003cstrong\u003edouble signature by the artist\u003c\/strong\u003e: handwritten in Japanese characters (森山大道) and in Roman script (Daido) on the vivid purple endpaper — a hallmark of this edition. An exceptional collector's piece.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eAuthor:\u003c\/strong\u003e Daido Moriyama (森山大道)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e it\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eYear:\u003c\/strong\u003e 2008\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eEdition:\u003c\/strong\u003e First Edition\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Rat Hole Gallery, Tokyo\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLanguage:\u003c\/strong\u003e Japanese \/ English\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSigned:\u003c\/strong\u003e Yes — double signature in Japanese and Roman script on endpaper\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very Good — A well-preserved copy in excellent overall condition. Interior pages and photographs clean and bright. Signature bold and clear. Minor handling wear consistent with age. A fine example of this sought-after title.\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65335095132509,"sku":null,"price":100.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8105.jpg?v=1784703459"},{"product_id":"daido-moriyama-passage-1999-first-edition-signed","title":"Daido Moriyama — Passage (4区), 1999 First Edition (Signed)","description":"\u003ch2\u003eDaido Moriyama — \u003cem\u003ePassage (4区)\u003c\/em\u003e, 1999 First Edition — Signed by the Artist\u003c\/h2\u003e\n\u003cp\u003e\u003cem\u003ePassage\u003c\/em\u003e, subtitled \u003cem\u003e4区\u003c\/em\u003e (4 Districts), is one of Daido Moriyama's most intimate and quietly powerful photobooks. Published in 1999 by Yiz (Wiz) Shuppan, Tokyo, the work documents the everyday life of four urban districts through Moriyama's characteristic raw, grainy black-and-white vision — streets, alleys, cats, and the quiet pulse of Japanese city life.\u003c\/p\u003e\n\u003cp\u003eThis copy is a \u003cstrong\u003efirst edition, first printing\u003c\/strong\u003e, bearing a \u003cstrong\u003edouble signature by the artist\u003c\/strong\u003e: in Japanese characters (森山大道) and in Roman script (Daido) on the title page. Exceptionally, this copy retains its \u003cstrong\u003eoriginal publisher's supplementary order card (補充カード)\u003c\/strong\u003e and is in \u003cstrong\u003eunread, as-new condition\u003c\/strong\u003e — an extraordinary survival for a 25-year-old photobook.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eAuthor:\u003c\/strong\u003e Daido Moriyama (森山大道)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e Passage \/ 4区\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eYear:\u003c\/strong\u003e 1999\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eEdition:\u003c\/strong\u003e First Edition, First Printing\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Yiz (Wiz) Shuppan, Tokyo\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLanguage:\u003c\/strong\u003e Japanese\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSigned:\u003c\/strong\u003e Yes — double signature in Japanese and Roman script on title page\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eExtras:\u003c\/strong\u003e Original publisher's supplementary order card (補充カード) laid in\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition: Fine \/ As New\u003c\/strong\u003e — Unread copy in exceptional condition. Covers, spine, and pages pristine. No wear, no marks. Signature bold and clear. Original order card present and intact. An outstanding example — rarely found in this state after 25 years.\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65335647175005,"sku":null,"price":80.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_6045.jpg?v=1784703829"},{"product_id":"takuma-nakahira-adieu-a-x-1989-first-edition","title":"Takuma Nakahira — Adieu à X, 1989 First Edition, First Printing","description":"\u003ch2\u003eTakuma Nakahira — \u003cem\u003eAdieu à X (アデュウ ア エックス)\u003c\/em\u003e, 1989 First Edition, First Printing\u003c\/h2\u003e\n\u003cp\u003e\u003cem\u003eAdieu à X\u003c\/em\u003e is one of the most significant and sought-after photobooks by Takuma Nakahira (中平卓馬), one of the towering figures of Japanese photography and a founding member of the legendary \u003cem\u003eProvoke\u003c\/em\u003e movement. Published in 1989 by Kawade Shobo Shinsha, Tokyo, this work marked a pivotal moment in Nakahira's career — a return to photography after years of silence following his memory loss in 1977, and a radical rethinking of what the photographic image could be.\u003c\/p\u003e\n\u003cp\u003eThe book presents large-format, intensely physical images of nature — water, birds, vegetation — shot with an almost violent directness. Far from the grainy abstraction of \u003cem\u003eProvoke\u003c\/em\u003e, \u003cem\u003eAdieu à X\u003c\/em\u003e confronts the viewer with the raw materiality of the world. It remains one of the essential texts of Japanese photobook history and is increasingly difficult to find in first printing.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eAuthor:\u003c\/strong\u003e Takuma Nakahira (中平卓馬)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e Adieu à X \/ アデウ ア エックス\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eYear:\u003c\/strong\u003e 1989\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eEdition:\u003c\/strong\u003e First Edition, First Printing\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Kawade Shobo Shinsha (河出書房新社), Tokyo\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eISBN:\u003c\/strong\u003e 4-309-26111-6\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLanguage:\u003c\/strong\u003e Japanese\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very Good — A well-preserved first printing. Covers clean with light age toning consistent with a 35-year-old paperback. Spine firm. Interior pages and photographs clean and bright. A solid copy of this increasingly scarce title.\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65335659069789,"sku":null,"price":80.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_7323.jpg?v=1784703984"},{"product_id":"nobuyoshi-araki-obscenities-1994-first-edition","title":"Nobuyoshi Araki — Obscenities (猿襲写真集), 1994 First Edition","description":"\u003ch2\u003eNobuyoshi Araki — \u003cem\u003eObscenities (猿襲写真集)\u003c\/em\u003e, 1994 First Edition\u003c\/h2\u003e\n\u003cp\u003eA rare first edition of \u003cem\u003eObscenities\u003c\/em\u003e by Nobuyoshi Araki (荒木経惟), one of the most provocative and internationally celebrated photographers of the 20th century. Published in 1994 as a special issue of the influential Japanese photography magazine \u003cem\u003eDéjà-vu\u003c\/em\u003e, this bold publication brings together some of Araki's most confrontational and transgressive imagery — a defining statement from an artist who consistently pushed the boundaries of photography, desire, and taboo.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eAuthor:\u003c\/strong\u003e Nobuyoshi Araki (荒木経惟)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e Obscenities \/ 猿襲写真集\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eYear:\u003c\/strong\u003e 1994 (August 15, First Printing)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Photo Planet \/ Kawade Shobo Shinsha, Tokyo\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSeries:\u003c\/strong\u003e Déjà-vu Special Issue\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eISBN:\u003c\/strong\u003e 4-309-90126-3\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLanguage:\u003c\/strong\u003e Japanese\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good — Overall sound copy. Cover shows light wear and minor scuffing consistent with age. Interior pages and photographs clean. A presentable copy of this scarce title.\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65335675519325,"sku":null,"price":39.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8263.jpg?v=1784704085"},{"product_id":"nobuyoshi-araki-photo-theatre-tokyo-elegy-1981-first-edition","title":"Nobuyoshi Araki — Photo Theatre: Tokyo Elegy (写真劇場 東京エレジー), 1981 First Edition","description":"\u003ch2\u003eNobuyoshi Araki — \u003cem\u003ePhoto Theatre: Tokyo Elegy (写真劇場 東京エレジー)\u003c\/em\u003e, 1981 First Edition\u003c\/h2\u003e\n\u003cp\u003eA rare first edition of one of Nobuyoshi Araki's (荒木経惟) most celebrated early works. Published in 1981 by Fuyusha (Tojusha), Tokyo, \u003cem\u003ePhoto Theatre: Tokyo Elegy\u003c\/em\u003e is a landmark in Araki's prolific output — a deeply personal and theatrical vision of Tokyo life, blending street photography, portraiture, and the artist's characteristic sense of intimacy and melancholy. The title's theatrical framing (写真劇場, “Photo Theatre”) reflects Araki's view of photography as performance and the city as stage.\u003c\/p\u003e\n\u003cp\u003eThis is a highly sought-after title among collectors of Japanese photography, representing Araki at the height of his early creative powers and increasingly difficult to find in first edition. \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eAuthor:\u003c\/strong\u003e Nobuyoshi Araki (荒木経惟)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e Photo Theatre: Tokyo Elegy \/ 写真劇場 東京エレジー\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eYear:\u003c\/strong\u003e 1981\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eEdition:\u003c\/strong\u003e First Edition\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Fuyusha (冬樹社), Tokyo\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLanguage:\u003c\/strong\u003e Japanese\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good — Overall sound copy. Cover and spine show age toning and light yellowing consistent with a 40+ year old paperback. Spine intact and firm. Interior pages and photographs clean and bright. A solid and presentable copy of this scarce early Araki title.\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65335679844701,"sku":null,"price":50.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8495.jpg?v=1784704139"},{"product_id":"nichidai-toso-struggle-nihon-university-1969-first-edition","title":"Nichidai Toso — The Struggle at Nihon University (日大闘争), 1969 First Edition","description":"\u003ch2\u003e\n\u003cem\u003eNichidai Toso — The Struggle at Nihon University (グラフ 日大闘争)\u003c\/em\u003e, 1969 First Edition\u003c\/h2\u003e\n\u003cp\u003eA rare and historically significant protest photobook documenting one of the most dramatic episodes of Japan's student movement. Published in 1969 by the Nihon University College of Arts All-Campus Joint Struggle Committee (日大文理学部全学共闘会議), \u003cem\u003eNichidai Toso\u003c\/em\u003e (日大闘争, “The Nihon University Struggle”) captures the explosive student uprising of 1968–69 at Nihon University — one of Japan's largest universities — when tens of thousands of students occupied campuses, confronted riot police, and challenged the university administration in a movement that shook Japanese society.\u003c\/p\u003e\n\u003cp\u003eThe cover image — a masked student in a helmet, the mass of protesters reflected in the visor — is one of the defining images of Japanese protest photography. Raw, urgent, and deeply political, this photobook belongs to the tradition of Japanese activist publishing that emerged from the turbulent late 1960s, alongside the \u003cem\u003eProvoke\u003c\/em\u003e movement and the broader upheaval of the era. An essential document for collectors of Japanese photography, political history, and protest culture.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e Graph Nichidai Toso \/ グラフ 日大闘争\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eEditor:\u003c\/strong\u003e Nihon University College of Arts All-Campus Joint Struggle Committee (日大文理学部全学共闘会議)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eYear:\u003c\/strong\u003e 1969\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eEdition:\u003c\/strong\u003e First Edition\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLanguage:\u003c\/strong\u003e Japanese\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good — Overall sound copy. Cover shows age toning and light wear consistent with a 55+ year old publication. Interior pages clean. A solid and presentable copy of this increasingly scarce protest document.\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65335955390813,"sku":null,"price":68.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_6860.jpg?v=1784707873"},{"product_id":"tatsuo-kurihara-anger-daily-bread-1969-first-edition","title":"Tatsuo Kurihara — Anger is Our Daily Bread (怒りを日々の糧に), 1969 First Edition","description":"\u003ch2\u003eTatsuo Kurihara — \u003cem\u003eAnger is Our Daily Bread (怒りを日々の糧に — 学生闘争の記録)\u003c\/em\u003e, 1969 First Edition\u003c\/h2\u003e\n\u003cp\u003eA rare and powerful protest photobook documenting the Japanese student movement of the late 1960s. Photographed by Tatsuo Kurihara (栗原達男) with text by Makoto Nakajima (中島誠), \u003cem\u003eAnger is Our Daily Bread\u003c\/em\u003e is a visceral photographic record of the student struggle — mass demonstrations, riot police confrontations, helmeted protesters, and the raw energy of a generation in revolt. Published in 1969 by Fuyusha (冬樹社), Tokyo.\u003c\/p\u003e\n\u003cp\u003eThe photographs are urgent and immediate — crowds surging across open ground, students clashing with police, the chaos and solidarity of the movement captured with documentary directness. An essential document of Japan's \u003cem\u003eZenkyōtō\u003c\/em\u003e (全共闘) era. \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003ePhotographer:\u003c\/strong\u003e Tatsuo Kurihara (栗原達男)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eText:\u003c\/strong\u003e Makoto Nakajima (中島誠)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e Anger is Our Daily Bread \/ 怒りを日々の糧に\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSubtitle:\u003c\/strong\u003e A Record of the Student Struggle \/ 学生闘争の記録\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eYear:\u003c\/strong\u003e 1969\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eEdition:\u003c\/strong\u003e First Edition\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Fuyusha (冬樹社), Tokyo\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLanguage:\u003c\/strong\u003e Japanese\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good — Overall sound copy with original dust jacket. Jacket shows age toning and light wear at edges consistent with a 55+ year old publication. Spine firm. Interior pages and photographs clean and intact.\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65335997301085,"sku":null,"price":50.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_7308.jpg?v=1784708306"},{"product_id":"hitomi-watanabe-todai-zenkyoto-1968-1969-first-edition","title":"Hitomi Watanabe — Todai Zenkyoto 1968–1969 (東大全共闘), 2007 First Edition","description":"\u003ch2\u003eHitomi Watanabe — \u003cem\u003eTodai Zenkyoto 1968–1969 (東大全共闘)\u003c\/em\u003e, 2007 First Edition\u003c\/h2\u003e\n\u003cp\u003eA remarkable and historically significant photobook documenting the Tokyo University student uprising of 1968–69 — one of the defining events of Japan's turbulent late 1960s. Photographed by Hitomi Watanabe (渡辺晩), this book holds a unique distinction: \u003cstrong\u003eWatanabe was the only female photographer permitted inside the barricades\u003c\/strong\u003e, giving her access to an intimate, human perspective on the occupation that no other photographer could capture.\u003c\/p\u003e\n\u003cp\u003eHer images combine the tension and urgency of the confrontations with a rare sense of solidarity and quiet humanity within the barricades — students in helmets, smoke-filled campuses, the famous Yasuda Auditorium siege. Published in 2007 by Shinchosha (新潮社), Tokyo, with a special contribution by Yoshitaka Yamamoto (山本義隆), former representative of the Tokyo University All-Campus Joint Struggle Committee (Todai Zenkyōtō), who writes: \u003cem\u003e“I hope that through these re-examined photographs, the reality of the Tokyo University struggle will once again be revealed to many people.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eThis copy is in \u003cstrong\u003eunread, as-new condition\u003c\/strong\u003e — exceptional for a collector's copy. \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003ePhotographer:\u003c\/strong\u003e Hitomi Watanabe (渡辺晩)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e Todai Zenkyoto 1968–1969 \/ 東大全共闘\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eYear:\u003c\/strong\u003e 2007\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eEdition:\u003c\/strong\u003e First Edition\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Shinchosha (新潮社), Tokyo\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSpecial contribution:\u003c\/strong\u003e Yoshitaka Yamamoto (山本義隆), former Todai Zenkyōtō representative\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLanguage:\u003c\/strong\u003e Japanese\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition: Fine \/ As New\u003c\/strong\u003e — Unread copy in exceptional condition. Covers, spine, and all pages pristine and bright. No wear, no marks. An outstanding example of this important protest photobook.\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65336017715549,"sku":null,"price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8095.jpg?v=1784708537"},{"product_id":"nobuyoshi-araki-photo-life-asahi-camera-1981-special-issue","title":"Nobuyoshi Araki — Photo Life (写真生活), Asahi Camera Special Issue, 1981","description":"\u003ch2\u003eNobuyoshi Araki — \u003cem\u003ePhoto Life (写真生活)\u003c\/em\u003e, Asahi Camera Special Issue, August 1981\u003c\/h2\u003e\n\u003cp\u003eA rare and characterful early document of Nobuyoshi Araki (荒木経惟) at the height of his creative energy. Published in August 1981 as a special issue of \u003cem\u003eAsahi Camera\u003c\/em\u003e (アサヒカメラ), Japan's most prestigious photography magazine, this oversized issue is dedicated entirely to Araki and his concept of \u003cem\u003eShashin Seikatsu\u003c\/em\u003e — \"Photo Life\" — a manifesto-like vision of photography as a total way of living.\u003c\/p\u003e\n\u003cp\u003eThe cover image alone — Araki levitating above a forest pool, his reflection shimmering below — is one of the most iconic images of his early career. This special issue offers a fascinating window into Araki's world at a pivotal moment, combining photographs, essays, and behind-the-scenes material in the accessible format of Japan's leading photo press. An essential piece for any serious Araki collector or researcher.\u003c\/p\u003e\n\u003cp\u003eThis copy is unread and retains its original freshness — exceptional for a 40+ year old magazine special issue.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAuthor \/ Subject:\u003c\/strong\u003e Nobuyoshi Araki (荒木経惟)\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e Photo Life \/ 写真生活\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublication:\u003c\/strong\u003e Asahi Camera (アサヒカメラ) Special Issue, August 1981\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Asahi Shimbun-sha (朝日新聞社), Tokyo\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFormat:\u003c\/strong\u003e Magazine \/ Oversized Special Issue\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLanguage:\u003c\/strong\u003e Japanese\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition: Very Good\u003c\/strong\u003e — Unread copy in excellent overall condition. Cover, spine, and all pages clean and bright. No marks, no writing. Please note: there is a small bump\/scuff to the lower right corner of the front cover spine edge, as visible in the listing photographs. A very minor flaw on an otherwise outstanding 45-year-old copy.\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65336023318877,"sku":null,"price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_7860.jpg?v=1784708813"},{"product_id":"kurihara-photo-report-okinawa-1961-1970-first-edition","title":"Tatsuo Kurihara — Photo Report OKINAWA 1961-1970 1st ed w\/obi \u0026 clear cover","description":"\u003ch2\u003eTatsuo Kurihara — \u003cem\u003eShashin Hokoku: Okinawa 1961–1970\u003c\/em\u003e (写真報告 オキナワ 1961〜1970), Asahi Shimbun-sha, 1970. First Edition.\u003c\/h2\u003e\n\u003cp\u003eA searing photographic indictment of American military occupation, published in the year of Okinawa's reversion negotiations. Tatsuo Kurihara (栗原達男) spent a decade embedded in Okinawa — from 1961 to 1970 — documenting the lived reality of a people caught between two sovereignties, beneath the flight paths of B-52 bombers departing for Vietnam.\u003c\/p\u003e\n\u003cp\u003eThe cover image says everything: a B-52 Stratofortress lifting off from Kadena Air Base, its silhouette monstrous against the sky, framed by chain-link fence. It is one of the defining images of postwar Japanese photojournalism — a document of occupation as visceral as anything produced in the era.\u003c\/p\u003e\n\u003cp\u003ePublished by Asahi Shimbun-sha (朝日新聞社) at the precise moment when the Okinawa reversion movement was reaching its peak, this volume carries the full weight of its historical moment. 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First Edition.\u003c\/h2\u003e\n\u003cp\u003eOne of the rarest documents of Japan's female bōsōzoku subculture — a world that existed entirely outside the mainstream, governed by its own codes of loyalty, speed, and defiance. 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Notably, the top of the spine shows shelf wear and light rubbing — visible in listing photographs.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBinding:\u003c\/strong\u003e Tight and fully intact.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterior \u0026amp; Pages:\u003c\/strong\u003e Age-toned as expected. No writing, no tears. Photographs and text fully legible throughout.\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003ePlease inspect all high-resolution listing photographs carefully before purchasing.\u003c\/em\u003e\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65419339071837,"sku":null,"price":100.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8567.jpg?v=1785469047"},{"product_id":"testimony-of-nagasaki-shashin-1970-first-printing-jrp","title":"The Testimony of Nagasaki — 写真集 長崎の証言 1970\/1972 JRP Nagasaki","description":"\u003ch2\u003eJRP Nihon Realism Shashin Shudan Nagasaki Shibu — \u003cem\u003eThe Testimony of Nagasaki\u003c\/em\u003e (写真集 長崎の証言), Nagasaki Genbaku Hisaisha Kyogikai, 1970\/1972.\u003c\/h2\u003e\n\u003cp\u003eOne of the most morally urgent photobooks ever produced in Japan. 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First Japanese Edition, First Printing.\u003c\/h2\u003e\n\u003cp\u003eThis is the first Japanese translation of Aldous Huxley's \u003cem\u003eBrave New World\u003c\/em\u003e, published by Kaizosha in 1933, the year immediately following the English first edition (Chatto \u0026amp; Windus, 1932) — simultaneously with the French (\u003cem\u003eLe Meilleur des mondes\u003c\/em\u003e, Plon, 1933) and Italian (\u003cem\u003eIl mondo nuovo\u003c\/em\u003e, Mondadori, 1933) first translations. Japan was among the first nations in the world to bring Huxley's dystopian vision to its readers.\u003c\/p\u003e\n\u003cp\u003eThe cover design is by \u003cstrong\u003eHisui Sugiura\u003c\/strong\u003e (杉浦非水, 1876–1965) — the defining figure of Japanese Art Deco graphic design, whose work for Mitsukoshi department store and the literary presses of the 1920s and 1930s established the visual language of modern Japan. 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This is the area most subject to shelf friction on books of this era; it is concealed when displayed with the jacket on, but clearly documented in the jacket-off photos.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eInterior \u0026amp; Pages:\u003c\/b\u003e Age-toned as expected for 1930s Japanese paper stock, but clean and well-preserved. 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Bungeishunju Shinsha (文藝春秋新社), Tokyo, 1950. First Japanese Edition, First Printing.\u003c\/h2\u003e\n\u003cp\u003ePublished in 1950 — the year immediately following the English first edition (Secker \u0026amp; Warburg, 1949) — this is the legendary first Japanese translation of George Orwell's \u003cem\u003eNineteen Eighty-Four\u003c\/em\u003e: one of the defining texts of the twentieth century, brought to Japanese readers at the precise moment when its warnings about totalitarianism, surveillance, and the destruction of truth carried the most urgent possible resonance. Japan in 1950 was a nation under occupation, rebuilding its identity in the shadow of war — and Orwell's vision of a world governed by perpetual war, doublethink, and the erasure of history arrived with the force of lived experience.\u003c\/p\u003e\n\u003cp\u003eThe dust jacket is among the most arresting cover designs in postwar Japanese publishing. A dense, expressionist crowd scene — uniformed figures, blank-faced masses, the sash of the Anti-Sex League — dominated by a poster bearing the face of Big Brother and the words \u003cstrong\u003e\"BIG BROTHER IS WATCHING YOU\"\u003c\/strong\u003e in English, set against the caption \u003cem\u003eLondon in 1984\u003c\/em\u003e. The title — 一九八四年 — blazes in red across the composition. It is a cover that understood exactly what it was illustrating.\u003c\/p\u003e\n\u003cp\u003eThat this copy retains its \u003cstrong\u003eoriginal dust jacket\u003c\/strong\u003e in good condition is, for a 75-year-old Japanese softcover, genuinely exceptional. Dust jackets of this era and format are among the most fragile artifacts of postwar Japanese publishing — subject to wartime paper shortages, postwar disposal drives, and the general entropy of time. A jacketed first printing of the first Japanese \u003cem\u003e1984\u003c\/em\u003e is a document of extraordinary rarity.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAuthor:\u003c\/strong\u003e George Orwell\u003cbr\u003e\u003cstrong\u003eTranslators:\u003c\/strong\u003e Kenichi Yoshida (吉田健一), Naotaro Tatsuguchi (龍口直太郎), Tetsuo Shinjo (新庄哲夫)\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e Ichiku Hachijuyon-nen \/ 一九八四年 (Nineteen Eighty-Four)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Bungeishunju Shinsha (文詝春秋新社), Tokyo\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eYear:\u003c\/strong\u003e 1950 (Showa 25) — First Japanese Edition, First Printing\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFormat:\u003c\/strong\u003e Softcover with original dust jacket \/ 366 pages \/ 190 × 125 mm\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLanguage:\u003c\/strong\u003e Japanese\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInclusions:\u003c\/strong\u003e Original dust jacket present.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition: Good — Exceptional Survival for a 75-Year-Old Jacketed Copy\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eDust Jacket:\u003c\/strong\u003e Age-toned and worn at edges and spine ends, consistent with 75 years of survival. The cover image retains full visual impact. Please inspect listing photographs carefully.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBinding \u0026amp; Text Block:\u003c\/strong\u003e Solid and complete. Pages age-toned as expected for postwar Japanese paper stock.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterior:\u003c\/strong\u003e \u003cspan\u003eAfter removing the price tags at the used bookstore on the last page.otherwise \u003c\/span\u003eNo writing, no stamps, no tears. Text fully legible throughout.\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003ePlease inspect all high-resolution listing photographs carefully before purchasing.\u003c\/em\u003e\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65419943805277,"sku":null,"price":400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_5629.jpg?v=1788621391"},{"product_id":"ben-hecht-1001-afternoons-in-chicago-1930-first-japanese-ed-rare-jazz-literature","title":"Ben Hecht 1001 AFTERNOONS IN CHICAGO 1930 First Japanese ed Rare Jazz Literature","description":"\u003ch2\u003eBen Hecht — \u003cem\u003e1001 Afternoons in Chicago\u003c\/em\u003e \/ 1001夜・シカゴ狂想曲\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eShunpodo (春陽堂), Tokyo. 1930 (Showa 5). True First Japanese Edition, First Printing.\u003c\/strong\u003e\u003cbr\u003eFrom the legendary series: \u003cem\u003e世界大都會尖端ジヤズ文学\u003c\/em\u003e (World's Greatest Cosmopolitan Avant-Garde Jazz Literature)\u003c\/p\u003e\n\u003ch3\u003eOVERVIEW\u003c\/h3\u003e\n\u003cp\u003eIn 1930, as Japan's \u003cem\u003eModan Boi\u003c\/em\u003e and \u003cem\u003eModan Garu\u003c\/em\u003e culture reached its electric peak — jazz cafes in Ginza, flapper fashion in Osaka, American cinema in every city — Shunpodo launched one of the most audacious publishing ventures of the prewar era: a series explicitly titled \u003cem\u003eWorld's Greatest Cosmopolitan Avant-Garde Jazz Literature\u003c\/em\u003e. This volume was its crown jewel.\u003c\/p\u003e\n\u003cp\u003eBen Hecht — the man Raymond Chandler called the most talented writer in America, the Oscar-winning screenwriter behind \u003cem\u003eUnderworld\u003c\/em\u003e, \u003cem\u003eScarface\u003c\/em\u003e, and \u003cem\u003eNotorious\u003c\/em\u003e, the journalist who invented the Chicago school of literary reportage — had written \u003cem\u003e1001 Afternoons in Chicago\u003c\/em\u003e in 1922 as a series of prose poems for the \u003cem\u003eChicago Daily News\u003c\/em\u003e. By 1930, the book had achieved cult status in American literary circles. Shunpodo's editors understood exactly what they were publishing: not merely a translation, but a manifesto of urban modernity.\u003c\/p\u003e\n\u003cp\u003eThe design mirrors the content's ambition. The cover typography — bold, geometric, jazz-age — and the extraordinary endpaper pattern (a dense grid of vignettes illustrating scenes from the book, printed in stark black and white) reflect the full force of Japanese prewar modernist book design at its most sophisticated. The interior Chicago cityscape illustrations, rendered in dense woodblock-influenced linework, transform the reading experience into something closer to a graphic document of a lost city.\u003c\/p\u003e\n\u003cp\u003eMilitary censorship ended this world within a few years. Most copies of this series were read to destruction or lost in the firebombings of 1945. What survives is vanishingly rare.\u003c\/p\u003e\n\u003ch3\u003eWHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM\u003c\/h3\u003e\n\u003cp\u003e1. \u003cstrong\u003eJazz Age Cult Significance\u003c\/strong\u003e — A primary artifact of Japan's \u003cem\u003eModan\u003c\/em\u003e era: the precise moment American jazz culture, urban cynicism, and avant-garde publishing collided in prewar Tokyo. A document of a world that ceased to exist.\u003c\/p\u003e\n\u003cp\u003e2. \u003cstrong\u003eExtreme Scarcity\u003c\/strong\u003e — Shunpodo's Jazz Literature series was printed in limited numbers and largely destroyed in WWII. Surviving copies in this condition represent a survival rate of perhaps 1 in 100.\u003c\/p\u003e\n\u003cp\u003e3. \u003cstrong\u003eBen Hecht's Literary Legacy\u003c\/strong\u003e — Hecht is now recognized as a foundational figure of American literary journalism, noir fiction, and Hollywood screenwriting. His primary texts in first translation are increasingly sought by serious collectors.\u003c\/p\u003e\n\u003cp\u003e4. \u003cstrong\u003eExceptional Design Object\u003c\/strong\u003e — The endpaper vignette pattern, cover typography, and interior illustrations make this one of the most visually distinguished volumes in prewar Japanese publishing history.\u003c\/p\u003e\n\u003ch3\u003ePRODUCT SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eAuthor:\u003c\/strong\u003e Ben Hecht\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e 1001 Afternoons in Chicago \/ 1001夜・シカゴ狂想曲\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Shunpodo (春陽堂), Tokyo\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSeries:\u003c\/strong\u003e 世界大都會尖端ジヤズ文学 (World's Greatest Cosmopolitan Avant-Garde Jazz Literature)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eYear Published:\u003c\/strong\u003e 1930 (Showa 5) — True First Japanese Edition, First Printing\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLanguage:\u003c\/strong\u003e Japanese\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFormat:\u003c\/strong\u003e Hardcover (no slipcase, as issued)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInclusions:\u003c\/strong\u003e As issued — no additional inserts\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003eCONDITION\u003c\/h3\u003e\n\u003cp\u003eVery Good Vintage Condition — Outstanding Survival for a 96-Year-Old Rarity\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eCovers:\u003c\/strong\u003e Iconic prewar urban\/jazz graphic printed directly on boards. Yellow and red colors bright and unfaded. Minor natural rubbing at edges; structurally solid.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSpine:\u003c\/strong\u003e Intact and firm. Text fully legible.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBinding:\u003c\/strong\u003e Tight and secure throughout.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterior \u0026amp; Pages:\u003c\/strong\u003e Natural age-toning and light foxing consistent with 1930s Japanese paper stock. Free of modern writing, severe stains, or tears.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cem\u003e*Please carefully review all high-resolution listing photos to assess the detailed vintage condition.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003cbr\u003eWhile the text is printed in Japanese, you can easily read and study this historic book using modern smartphone AI tools. By taking a photo of any page with your smartphone and using free apps like Google Lens, ChatGPT, or Google Translate, the embedded AI will instantly scan and translate the text. Language is no longer a barrier to owning this rare piece of international history.\u003c\/em\u003e\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65420002459997,"sku":null,"price":200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8237.jpg?v=1785478799"},{"product_id":"ben-hecht-1001-afternoons-in-chicago-1930-first-japanese-ed-rare-jazz-literature-コピー","title":"William Faulkner — Sanctuary \/ サンクチュアリ 罪の祭壇 Getsuyō Shobō 1950 First Japanese Edition","description":"\u003ch2\u003eWilliam Faulkner — \u003cem\u003eSanctuary \/ サンクチュアリ —罪の祭壇—\u003c\/em\u003e, 月曜書房 (Getsuyō Shobō), Tokyo, 1950 (Showa 25). True First Japanese Edition. First Printing.\u003c\/h2\u003e\n\u003cp\u003ePublished on December 24, 1950 — the same year William Faulkner received the Nobel Prize in Literature — this first Japanese edition of \u003cem\u003eSanctuary\u003c\/em\u003e arrived in occupied Japan at a moment of extraordinary cultural significance. Translated by the distinguished team of Naotaro Tatsuguchi and Masami Nishikawa, and published by the now-defunct Getsuyō Shobō (月曜書房) of Kanda Jinbōchō, this is Faulkner's most visceral and controversial novel rendered into Japanese for the first time.\u003c\/p\u003e\n\u003cp\u003eFaulkner himself called it \"the most horrific novel I could imagine\" — a story of bootleggers, kidnapping, murder, lynching, and moral collapse in the American South. The book design is by \u003cstrong\u003eYoshio Kitanaka (北中義雄)\u003c\/strong\u003e. The volume retains its original dust jacket, the publisher's \u003cem\u003eKen-in-shi\u003c\/em\u003e (copyright stamp), and the rare \u003cstrong\u003eGetsuyō Shobō Monthly Bulletin Vol. IV (1950)\u003c\/strong\u003e — a fragile ephemeral insert almost never found with surviving copies.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\n\u003cstrong\u003e歴史的・文学的価値\u003c\/strong\u003e — Published in the Nobel Prize year, this is the first Japanese translation of Faulkner's most notorious work. A primary document of postwar Japanese literary culture under Allied occupation.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eビジュアル・芸術的価値\u003c\/strong\u003e — Book design by Yoshio Kitanaka. The bold two-tone cover — beige, crimson, and forest green — with the elegant \"sanctuary\" script is a masterwork of early postwar Japanese book design.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e月報・検印紙の希少価値\u003c\/strong\u003e — Complete with original dust jacket, Ken-in-shi, and the Getsuyō Shobō Monthly Bulletin Vol. IV — an ephemeral insert that rarely survives 75 years intact.\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003ePRODUCT SPECIFICATIONS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eAuthor:\u003c\/strong\u003e William Faulkner\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e Sanctuary \/ サンクチュアリ —罪の祭壇—\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTranslators:\u003c\/strong\u003e Naotaro Tatsuguchi (龍口直太郎) \u0026amp; Masami Nishikawa (西川正身)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBook Design:\u003c\/strong\u003e Yoshio Kitanaka (北中義雄)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e 月曜書房 (Getsuyō Shobō), Kanda Jinbōchō, Tokyo\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eYear Published:\u003c\/strong\u003e 1950 (Showa 25), December 24 — True First Japanese Edition, First Printing\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLanguage:\u003c\/strong\u003e Japanese\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFormat:\u003c\/strong\u003e Hardcover\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInclusions:\u003c\/strong\u003e Original dust jacket, Ken-in-shi (copyright stamp), Getsuyō Shobō Monthly Bulletin Vol. IV (1950)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCONDITION: Good — Remarkable Survival for a 75-Year-Old Paperbound\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eDust Jacket:\u003c\/strong\u003e Age-appropriate foxing and scattered tanning spots visible in listing photographs — consistent with 75 years of existence. Structurally intact. For a first printing of this age and publisher, this level of survival is genuinely uncommon.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCovers \u0026amp; Spine:\u003c\/strong\u003e Clean and intact. Kitanaka's cover design fully legible and visually striking.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBinding:\u003c\/strong\u003e Tight and fully intact.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterior \u0026amp; Pages:\u003c\/strong\u003e Age-toned as expected. Ken-in-shi present. Monthly Bulletin insert present. No writing, no tears.\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003ePlease carefully inspect all high-resolution listing photographs to verify condition before purchasing.\u003c\/em\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eNOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION\u003c\/strong\u003e\u003cbr\u003eWhile the text is printed in Japanese, you can easily read and study this historic book using modern smartphone AI tools. Google Lens, ChatGPT, or Google Translate will instantly translate any page. Language is no longer a barrier to owning this rare piece of literary history.\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65420029067613,"sku":null,"price":30.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_7254.jpg?v=1785479047"},{"product_id":"truman-capote-in-clod-blood-1967-japanese-fist-ed-1st-print-w-obi-band","title":"Truman Capote — In Cold Blood \/ 冷血 Shinchōsha 1967 First Japanese Edition First Printing","description":"\u003ch2\u003eTruman Capote — \u003cem\u003eIn Cold Blood \/ 冷血\u003c\/em\u003e, 新潮社 (Shinchōsha), Tokyo, 1967 (Showa 42). True First Japanese Edition, First Printing.\u003c\/h2\u003e\n\u003cp\u003ePublished on April 25, 1967 — just one year after the American first edition — this is the true first Japanese printing of Truman Capote's landmark work of literary nonfiction. Translated by Naotaro Tatsuguchi (龍口直太郎), the same distinguished translator who rendered Faulkner's \u003cem\u003eSanctuary\u003c\/em\u003e into Japanese, and published by Shinchōsha — Japan's most prestigious literary publisher — this edition arrived in Japan at the height of the book's global sensation.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eIn Cold Blood\u003c\/em\u003e redefined what literature could be: a true account of the 1959 murder of the Clutter family in Holcomb, Kansas, reconstructed with the precision of a novel and the moral weight of a tragedy. Capote spent six years reporting and writing it. The result became one of the most influential books of the twentieth century and invented the genre now known as New Journalism.\u003c\/p\u003e\n\u003cp\u003eThis copy is complete with its original \u003cstrong\u003eObi (belly band)\u003c\/strong\u003e bearing the arresting declaration — \"ここに描かれていることは全て冷厳な事実である！\" (Everything described here is cold, hard fact!) — and the rare \u003cstrong\u003ephotographic insert\u003c\/strong\u003e depicting the Clutter family and their killers, Dick Hickock and Perry Smith. The author photograph of Capote is present. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\n\u003cstrong\u003e歴史的・文学的価値\u003c\/strong\u003e — The true first Japanese printing of one of the most important books of the 20th century. Published by Shinchōsha within a year of the American first edition. A primary document of postwar Japanese literary culture and the global reception of New Journalism.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eビジュアル・芸術的価値\u003c\/strong\u003e — The iconic cover design featuring the two killers' eyes in a gold-framed photograph against a dark ground is one of the most recognizable book covers in Japanese publishing history. The Clutter family photographic insert adds documentary power.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e帯・インサートの希少価値\u003c\/strong\u003e — Complete with original Obi, photographic insert, author photograph — rarely found together in this condition after nearly 60 years.\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003ePRODUCT SPECIFICATIONS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eAuthor:\u003c\/strong\u003e Truman Capote\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e In Cold Blood \/ 冷血\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTranslator:\u003c\/strong\u003e Naotaro Tatsuguchi (龍口直太郎)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e 新潮社 (Shinchōsha), Tokyo\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eYear Published:\u003c\/strong\u003e 1967 (Showa 42), April 25 — True First Japanese Edition, First Printing\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLanguage:\u003c\/strong\u003e Japanese\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFormat:\u003c\/strong\u003e Hardcover, 386 pages, 19.5 × 13 cm\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInclusions:\u003c\/strong\u003e Original Obi (belly band), photographic insert (Clutter family \u0026amp; killers), author photograph.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCONDITION: Good — Exceptional Survival for a Nearly 60-Year-Old First Printing\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eObi \u0026amp; Covers:\u003c\/strong\u003e Structurally intact. The Obi retains its striking graphic impact. Age-appropriate wear consistent with nearly 60 years.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBinding:\u003c\/strong\u003e Tight, secure, and fully intact.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterior \u0026amp; Pages:\u003c\/strong\u003e Paper-stock tanning throughout — inherent to the paper quality of the era and consistent with age. No foxing beyond natural toning, no writing, no tears. All inserts present and intact.\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003ePlease carefully inspect all high-resolution listing photographs to verify condition before purchasing.\u003c\/em\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eNOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION\u003c\/strong\u003e\u003cbr\u003eWhile the text is printed in Japanese, you can easily read and study this historic book using modern smartphone AI tools. Google Lens, ChatGPT, or Google Translate will instantly translate any page. Language is no longer a barrier to owning this rare piece of literary history.\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65420075663709,"sku":null,"price":50.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_7225.jpg?v=1785479663"},{"product_id":"tennessee-williams-streetcar-named-desire-1952-japan-first-edition","title":"Tennessee Williams \/ A STREETCAR NAMED DESIRE 1952 Japan First ed 1st print Gutai  Jiro Yoshihara","description":"\u003ch2\u003eTennessee Williams — \u003cem\u003eA Streetcar Named Desire\u003c\/em\u003e \/ 欲望という名の電車\u003c\/h2\u003e\u003cp\u003e\u003cstrong\u003eSogensha (創元社), Osaka. 1952. True First Japanese Edition, First Printing.\u003c\/strong\u003e\u003c\/p\u003e\u003ch3\u003eOVERVIEW\u003c\/h3\u003e\u003cp\u003eThis is not simply a first Japanese edition of Tennessee Williams' most celebrated play. It is a document of two avant-garde histories colliding on a single object.\u003c\/p\u003e\u003cp\u003eThe cover of this 1952 Sogensha edition was designed by \u003cstrong\u003eJiro Yoshihara (吉原治良)\u003c\/strong\u003e — the painter who, just two years later, would found the \u003cstrong\u003eGutai Art Association (具体美術協会)\u003c\/strong\u003e, Japan's most radical postwar avant-garde movement. Gutai's influence on Fluxus, performance art, and abstract expressionism is now firmly established in the canon of 20th-century art history. This book predates that founding moment, placing it in the formative period of one of the century's most consequential artistic minds.\u003c\/p\u003e\u003cp\u003ePublished in Osaka in 1952 — riding the wave of Elia Kazan's landmark film adaptation starring Marlon Brando and Vivien Leigh — this edition introduced Williams' searing theatrical vision to Japanese readers as a playscript: the original form in which Blanche DuBois and Stanley Kowalski were conceived. The collision of American dramatic literature and Japanese avant-garde visual culture, bound in a single volume, is precisely the kind of artifact shady2grove exists to surface.\u003c\/p\u003e\u003ch3\u003eWHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM\u003c\/h3\u003e\u003cp\u003e1. \u003cstrong\u003eGutai Provenance\u003c\/strong\u003e — Cover design by Jiro Yoshihara, executed two years before he founded Gutai. A pre-Gutai artifact by the movement's creator, in the context of American literary history.\u003c\/p\u003e\u003cp\u003e2. \u003cstrong\u003eExceptional Completeness\u003c\/strong\u003e — Retains original dust jacket, cast character insert, and original Sogensha promotional postcard. A 70+ year survival rate that is extraordinarily rare for an Osaka imprint of this period.\u003c\/p\u003e\u003cp\u003e3. \u003cstrong\u003eHistorical Intersection\u003c\/strong\u003e — True first Japanese edition of a Pulitzer Prize-winning play, published at the precise moment Williams' work was reshaping global dramatic culture via Kazan's film.\u003c\/p\u003e\u003ch3\u003ePRODUCT SPECIFICATIONS\u003c\/h3\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eAuthor:\u003c\/strong\u003e Tennessee Williams\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e A Streetcar Named Desire \/ 欲望という名の電車\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCover Design:\u003c\/strong\u003e Jiro Yoshihara (吉原治良) — founder, Gutai Art Association (具体美術協会, est. 1954)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Sogensha (創元社), Osaka\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eYear Published:\u003c\/strong\u003e 1952 (Showa 27) — True First Japanese Edition, First Printing\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLanguage:\u003c\/strong\u003e Japanese\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFormat:\u003c\/strong\u003e Hardcover with dust jacket\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInclusions:\u003c\/strong\u003e Original dust jacket (DJ), cast character insert, Sogensha promotional postcard\u003c\/li\u003e\n\u003c\/ul\u003e\u003ch3\u003eCONDITION\u003c\/h3\u003e\u003cp\u003eGood Vintage Condition — Exceptional Survival for Age\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eDust Jacket:\u003c\/strong\u003e Present and intact. Natural toning consistent with 70+ years; the patina of a well-traveled literary artifact.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBinding:\u003c\/strong\u003e Tight, secure, and fully intact.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterior \u0026amp; Pages:\u003c\/strong\u003e Natural age-toning throughout; no writing, stamps, or tears.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eNote:\u003c\/strong\u003e Small tear at upper right corner of front paste-down endpaper. Please inspect all high-resolution listing photos carefully.\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cem\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003cbr\u003eWhile the text is printed in Japanese, you can easily read and study this historic book using modern smartphone AI tools. By taking a photo of any page with your smartphone and using free apps like Google Lens, ChatGPT, or Google Translate, the embedded AI will instantly scan and translate the text. Language is no longer a barrier to owning this rare piece of international history.\u003c\/em\u003e\u003c\/p\u003e\u003ch3\u003eSHIPPING \u0026amp; HANDLING\u003c\/h3\u003e\u003cp\u003eWe treat rare and vintage literature with the utmost respect. This book will be securely wrapped in multiple layers of bubble wrap and shipped inside a rigid, highly protective box to prevent any bending or corner damage during transit. Shipped via expedited international shipping with full end-to-end tracking and insurance included.\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65420076024157,"sku":null,"price":85.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_4321.jpg?v=1785480232"},{"product_id":"isaac-asimov-i-robot-rest-of-robots-1963-1969-japan-first-edition-set-slipcase","title":"Isaac Asimov — I, ROBOT \u0026 THE REST OF THE ROBOTS 1963 \u0026 1969 Japan First Ed Set w\/ Slipcase","description":"\u003ch2\u003eIsaac Asimov — \u003cem\u003eI, Robot\u003c\/em\u003e \u0026amp; \u003cem\u003eThe Rest of the Robots\u003c\/em\u003e \u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eHayakawa Shobo , Tokyo. Complete 2-Volume Set. Both True First Japanese Editions, First Printings.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cem\u003eI, Robot\u003c\/em\u003e — 1963 (Showa 38), September 15. Hayakawa SF Series No. 3054. With original slipcase (partial). Cover design by \u003cstrong\u003eNaito Masatoshi.\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cem\u003eThe Rest of the Robots\u003c\/em\u003e — 1969 (Showa 44), April 15. Hayakawa SF Series No. 3215.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eTranslated by \u003cstrong\u003eFusa Obi \u003c\/strong\u003eJapan's foremost SF translator.\u003c\/p\u003e\n\u003cp\u003eIn 1942, a 22-year-old biochemistry student named Isaac Asimov published a short story containing three simple rules governing the behavior of robots. He called them the \u003cstrong\u003eThree Laws of Robotics\u003c\/strong\u003e. Eighty years later, those three laws are cited in boardrooms at OpenAI, DeepMind, and the EU AI Act working groups. The conversation Asimov started has never been more urgent — and this two-volume set represents the precise moment that conversation entered the Japanese imagination.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eI, Robot\u003c\/em\u003e (1950 in English; \u003cstrong\u003e1963 in Japan — this copy\u003c\/strong\u003e) collected the foundational Robot stories: Susan Calvin, the robopsychologist; Speedy, the robot stranded on Mercury; the philosophical paradoxes of machines that cannot harm, cannot disobey, cannot lie. The cover design was executed by \u003cstrong\u003eNaito Masatoshi \u003c\/strong\u003ethe visionary photographer and ethnologist whose lens documented Japan's vanishing folk traditions and whose visual imagination shaped some of the most distinctive book design of the Showa era. His bat-motif cover for this volume reads today as pure retro-futurist art: a design that belongs simultaneously to 1963 and to now.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Rest of the Robots\u003c\/em\u003e (1964 in English; \u003cstrong\u003e1969 in Japan — this copy\u003c\/strong\u003e) extended the Robot universe with eight additional stories and two novels, deepening the ethical architecture Asimov had constructed. Together, these two volumes constitute the complete foundation of Asimov's Robot canon in Japanese translation.\u003c\/p\u003e\n\u003ch3\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cul\u003e\u003c\/ul\u003e\n\u003ch3\u003eCONDITION\u003c\/h3\u003e\n\u003cp\u003eGood Vintage Condition \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eI, Robot Slipcase:\u003c\/strong\u003e Present but with upper third missing. Remaining portion intact and structurally sound. Natural age-toning consistent with 63 years.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eI, Robot — Interior:\u003c\/strong\u003e Handwritten annotation present on table of contents page. All other pages clean and free of writing.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCovers:\u003c\/strong\u003e Both volumes retain strong color and legible text. Natural vintage rubbing at edges consistent with age.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBinding:\u003c\/strong\u003e Both volumes tight and secure.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterior \u0026amp; Pages:\u003c\/strong\u003e Natural age-toning consistent with period paper stock. Free of tears or severe staining.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cem\u003e*Please carefully review all high-resolution listing photos to assess the detailed vintage condition. We believe in complete transparency.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003cbr\u003eWhile the text is printed in Japanese, you can easily read and study this historic book using modern smartphone AI tools. By taking a photo of any page with your smartphone and using free apps like Google Lens, ChatGPT, or Google Translate, the embedded AI will instantly scan and translate the text. Language is no longer a barrier to owning this rare piece of international history.\u003c\/em\u003e\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65420305269085,"sku":null,"price":70.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8497.jpg?v=1785483875"},{"product_id":"le-sang-et-la-rose-magazine-chi-to-bara-vol-1-vol-3","title":"LE SANG ET LA ROSE \/ 血と薔薇 Vol.1–3 Complete (Vol.4 Lacking) Tensei Shuppan 1968–69","description":"\u003ch2\u003e澁澤龍彦 (ed.) — \u003cem\u003e血と薔薇 \/ LE SANG ET LA ROSE\u003c\/em\u003e, Vol.1–3, 天声出版 (Tensei Shuppan), Tokyo, 1968–1969 (Showa 43–44). Complete Vol.1–3 (Vol.4 Lacking).\u003c\/h2\u003e\n\u003cp\u003eOne of the most transgressive and visually arresting periodicals ever published in Japan. Edited by Tastuhiko Shibusawa (澁澤龍彦) — the scholar, translator, and provocateur who introduced Sade, Bataille, and European surrealism to postwar Japan — \u003cem\u003eChi to Bara\u003c\/em\u003e ran for only four issues between 1968 and 1969, each one a manifesto of eroticism, surrealism, and avant-garde visual culture. This set comprises the complete Vol.1 through Vol.3.\u003c\/p\u003e\n\u003cp\u003ePublished by the small, financially precarious Tensei Shuppan (天声出版), these magazines were produced with an intensity that belied the publisher's limited means. Decades later, surviving copies in fine condition are extraordinarily rare — the cheap paper stock of the era typically results in severe tanning, cracking spines, and pervasive foxing. This set is a remarkable exception.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWHY THIS SET IS A PRIZED COLLECTOR'S ITEM\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\n\u003cstrong\u003eHistorical significance:\u003c\/strong\u003e Edited by Shibusawa at the height of his influence, \u003cem\u003eChi to Bara\u003c\/em\u003e is a primary document of Japan's erotic-grotesque and surrealist underground — a direct counterpart to publications like \u003cem\u003eBizarre\u003c\/em\u003e and \u003cem\u003eOlympia Press\u003c\/em\u003e in the West.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eExceptional survival condition:\u003c\/strong\u003e Tensei Shuppan's limited budget meant thin, acid-prone paper. Finding three volumes without cracking, odor, or significant tanning is genuinely unusual. Vol.1 shows minor yellowing to covers — noted and photographed — but all three volumes are structurally sound and visually intact.\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003ePRODUCT SPECIFICATIONS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eEditor:\u003c\/strong\u003e 澁澤龍彦 (Tatsuhiko Shibusawa)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e 血と薔薇 \/ LE SANG ET LA ROSE\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e 天声出版 (Tensei Shuppan), Tokyo\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eYear Published:\u003c\/strong\u003e 1968–1969 (Showa 43–44)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eVolumes:\u003c\/strong\u003e Vol.1, Vol.2, Vol.3 \u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLanguage:\u003c\/strong\u003e Japanese\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFormat:\u003c\/strong\u003e Softcover magazines.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCONDITION: Very Good — Exceptional Vintage Survival\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eCovers \u0026amp; Spines:\u003c\/strong\u003e All three volumes retain their original covers with gold lettering intact. Vol.1 shows light yellowing to the cover boards — consistent with 55+ years of age and noted in listing photographs. Vol.2 and Vol.3 are notably clean.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBinding:\u003c\/strong\u003e Tight, secure, and fully intact across all three volumes. No cracking.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterior \u0026amp; Pages:\u003c\/strong\u003e No foxing, no musty odor — highly unusual for Tensei Shuppan publications of this era. Age-appropriate toning only. No writing, no tears.\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003ePlease carefully inspect all high-resolution listing photographs to verify condition.\u003c\/em\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eNOTE FOR INTERNATIONAL BUYERS\u003c\/strong\u003e\u003cbr\u003eWhile the text is printed in Japanese, the extraordinary visual content — photography, illustration, and graphic design — speaks universally. AI translation tools (Google Lens, ChatGPT) can render the text accessible on any smartphone.\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65420411830621,"sku":null,"price":80.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8534.jpg?v=1785485147"},{"product_id":"twelve-persons-in-graphic-design-today-1-3-tadanori-yokoo-akira-uno-ikko-tanaka","title":"Twelve Persons in Graphic Design Today 1-3 Tadanori Yokoo Akira Uno Ikko Tanaka","description":"\u003ch2\u003eBijutsu Shuppan-sha (美術出版社) — \u003cem\u003e12-nin no Graphic Designer \/ Twelve Persons in Graphic Design Today\u003c\/em\u003e (２２人のグラフィックデザイナー), Vols. 1–3 Complete Set. 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Complete sets in this condition are exceptionally rare on the international market.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e 12-nin no Graphic Designer \/ Twelve Persons in Graphic Design Today\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Bijutsu Shuppan-sha (美術出版社), Tokyo\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eYears:\u003c\/strong\u003e 1968–1970 (Showa 43–45)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFormat:\u003c\/strong\u003e 3-volume hardcover set\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLanguage:\u003c\/strong\u003e Japanese (with English titles and designer names)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition: Very Good — Remarkably Well-Preserved Complete Set\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOverall, the set is in exceptionally clean and well-preserved condition for volumes over 50 years old. Specific notes by volume:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eVol. 1 — Endpapers:\u003c\/strong\u003e Minor tanning\/toning due to age. \u003cstrong\u003eFinal page:\u003c\/strong\u003e Previous owner's signature and name stamp (hanko) — a small mark of provenance.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eVol. 2 — Endpapers:\u003c\/strong\u003e Minor tanning\/toning due to age. Otherwise clean throughout.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eVol. 3 — Spine:\u003c\/strong\u003e Minor loss\/chipping at the top of the spine, consistent with age and shelving. 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The volume includes \u003cstrong\u003ethree original illustrations by Gertrude Stein\u003c\/strong\u003e, adding a further layer of literary and artistic significance.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\n\u003cstrong\u003e歴史的・文学的価値\u003c\/strong\u003e — The first Japanese translation of \u003cem\u003eFinnegans Wake\u003c\/em\u003e in book form. Joyce's most complex work, rendered into Japanese by the foremost Joyce scholars of the era. A primary document of postwar Japanese literary culture.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eビジュアル・芸術的価値\u003c\/strong\u003e — Book design by Seiichi Horiuchi, whose graphic work is now collected in its own right. Three illustrations by Gertrude Stein. Gold-edged pages (Tenkei). Navy and silver hard slipcase.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e帯・函の希少価値\u003c\/strong\u003e — Complete with original Obi (belly band) and hard slipcase — rarely found together in this condition after 55 years.\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003ePRODUCT SPECIFICATIONS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eAuthor:\u003c\/strong\u003e James Joyce\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e Finnegans Wake \/ フィネガン役夜祭 (Finnegan Tetsuyasai)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTranslators:\u003c\/strong\u003e Yukio Suzuki, Ryo Nonaka, Naoki Yanase, et al.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eIllustrator:\u003c\/strong\u003e Gertrude Stein (3 plates)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBook Design:\u003c\/strong\u003e Seiichi Horiuchi (堀内誠一)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e 都市出版社 (Toshi Shuppansha), Tokyo\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eYear Published:\u003c\/strong\u003e 1971 (Showa 46) — True First Japanese Edition, Part 1\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLanguage:\u003c\/strong\u003e Japanese\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFormat:\u003c\/strong\u003e Hardcover\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInclusions:\u003c\/strong\u003e Original hard slipcase (navy \u0026amp; silver), original Obi (belly band)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eCONDITION: Very Good — Outstanding Vintage Survival\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eSlipcase:\u003c\/strong\u003e Light rubbing and shelf wear consistent with 55 years of age — noted and photographed. Structurally sound.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCovers \u0026amp; Spine:\u003c\/strong\u003e Clean and intact. Horiuchi's iconic cover design fully preserved.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBinding:\u003c\/strong\u003e Tight, secure, and fully intact.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterior \u0026amp; Pages:\u003c\/strong\u003e No foxing, no writing, no tears. Gold page edges intact. Ken-in-shi present.\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003ePlease carefully inspect all high-resolution listing photographs to verify the exceptional vintage condition.\u003c\/em\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eNOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION\u003c\/strong\u003e\u003cbr\u003eWhile the text is printed in Japanese, you can easily read and study this historic book using modern smartphone AI tools. By taking a photo of any page with Google Lens, ChatGPT, or Google Translate, the AI will instantly translate the text. Language is no longer a barrier to owning this rare piece of literary history.\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65420630491485,"sku":null,"price":40.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8126.jpg?v=1785486983"},{"product_id":"cream-of-the-crops-skinhead-photobook-mark-skanky-1997-first-ed","title":"Cream of the Crops Skinhead Photobook Mark Skanky Brown 1997 1st ed #01389 Numbered","description":"\u003ch2\u003eMark Skanky Brown — \u003cem\u003eCream of the Crops: A Skinhead Photobook\u003c\/em\u003e\n\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eStreet Music Publishing, Spain. 1997. First Edition. Numbered Copy #01389. Softcover.\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch3\u003eOVERVIEW\u003c\/h3\u003e\n\u003cp\u003ePublished in Spain in 1997 by Street Music Publishing, \u003cem\u003eCream of the Crops\u003c\/em\u003e is a photobook made by skinheads, for skinheads — and for anyone serious about subcultural documentary photography. Over \u003cstrong\u003e220 photographs\u003c\/strong\u003e, shot entirely in B\u0026amp;W, document the skinhead world across multiple countries and contexts: boy affairs, skinhead girls, work, gigs, street life, tattoos.\u003c\/p\u003e\n\u003cp\u003eWhat distinguishes this book from outsider documentation is its authorship. The photographs were made by skinheads themselves — including \u003cstrong\u003eFabrizio Bacchi\u003c\/strong\u003e (Italy), \u003cstrong\u003eGerd Halmchen\u003c\/strong\u003e (Germany), and \u003cstrong\u003eJohn G. Byron\u003c\/strong\u003e (UK) alongside editor Mark Skanky Brown — giving the images an intimacy and access that no commissioned photographer could replicate. The back cover text, written in the voice of the scene, makes the editorial position explicit: this is a document of a subculture that has been systematically misrepresented, made by people who were there.\u003c\/p\u003e\n\u003cp\u003eThe large-format B\u0026amp;W photography — 30×21cm, unpaginated, structured in chapters — gives the images documentary weight. This copy is \u003cstrong\u003eindividually numbered #01389\u003c\/strong\u003e on the title page, confirming its status as part of a limited, identified print run.\u003c\/p\u003e\n\u003ch3\u003eWHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM\u003c\/h3\u003e\n\u003cp\u003e1. \u003cstrong\u003eInsider Authorship\u003c\/strong\u003e — 220+ photographs made by skinhead photographers across Italy, Germany, and the UK. Primary subcultural documentation, not editorial interpretation.\u003c\/p\u003e\n\u003cp\u003e2. \u003cstrong\u003eNumbered Copy #01389\u003c\/strong\u003e — Individually stamped on the title page. A confirmed limited edition from a micro-publisher operating outside mainstream distribution.\u003c\/p\u003e\n\u003cp\u003e3. \u003cstrong\u003eMulti-Country Scope\u003c\/strong\u003e — Chapters covering skinhead culture across Europe and beyond, at a specific moment in the subculture's post-Two Tone history.\u003c\/p\u003e\n\u003cp\u003e4. \u003cstrong\u003eLarge-Format B\u0026amp;W\u003c\/strong\u003e — 30×21cm unpaginated format. 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Small ink stain on bottom edge of cover. No other damage.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBinding:\u003c\/strong\u003e Tight and secure.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterior \u0026amp; Pages:\u003c\/strong\u003e Near Fine. Clean throughout — no writing, staining, or tears. All photographs fully intact. Numbering stamp on title page crisp and clear.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cem\u003e*Please carefully review all high-resolution listing photos.\u003c\/em\u003e\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65434495877469,"sku":null,"price":100.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8682.jpg?v=1785642647"},{"product_id":"the-story-of-oi-a-view-from-the-dead-end-of-the-street-1981-first-ed-garry-johnson","title":"The Story of Oi! 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Natural age-toning consistent with period paper stock.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBinding:\u003c\/strong\u003e Tight and secure throughout.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterior \u0026amp; Pages:\u003c\/strong\u003e Very Good. Clean interior, no writing or tears. All 48 pages complete and intact.\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cem\u003e*Please carefully review all high-resolution listing photos.\u003c\/em\u003e\u003c\/p\u003e\u003ch3\u003eSHIPPING \u0026amp; HANDLING\u003c\/h3\u003e\u003cp\u003eSecurely wrapped in bubble wrap and shipped in a rigid protective box. 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Softcover.\u003c\/strong\u003e\u003c\/p\u003e\u003ch3\u003eOVERVIEW\u003c\/h3\u003e\u003cp\u003eBefore Nick Knight became one of the most influential fashion photographers of his generation — before SHOWstudio, before his campaigns for Yohji Yamamoto and Alexander McQueen — he was a young photographer documenting the skinhead subculture of the East End of London. \u003cem\u003eSkinhead\u003c\/em\u003e, published by Omnibus Press in 1982, is that document.\u003c\/p\u003e\u003cp\u003eThe book traces the history of the skinhead movement from its origins in the original Sixties scene through to the mid-Seventies revival, combining Knight's street photography with three additional elements that give it unusual depth as a cultural object: an \u003cstrong\u003eillustrated fashion notebook by Jim Ferguson\u003c\/strong\u003e, an \u003cstrong\u003eessay on the sociology of youth cults by Dick Hebdige\u003c\/strong\u003e (author of \u003cem\u003eSubculture: The Meaning of Style\u003c\/em\u003e), and a \u003cstrong\u003ediscography of skinhead hits\u003c\/strong\u003e. 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This second issue — 1994 Fall — centres on \u003cstrong\u003eTsuchida Hiromi (土田ヒロミ)\u003c\/strong\u003e, one of the defining documentary photographers of postwar Japan, in a conversation titled \u003cem\u003e「時代の背景の底辺にして写真をやっていく」\u003c\/em\u003e — “Doing photography at the bottom of the era’s background.” Also featured: interviews with \u003cstrong\u003eKitai Kazuo (北井一夫)\u003c\/strong\u003e and contributions from Matsutomo Shunpei, Nakayama Akira, Kawachi Shunji, Inoue Masashi, and Date Hidefumi.\u003c\/p\u003e\n\u003cp\u003eWhat distinguishes REPO from conventional photography magazines is its format: each issue includes a \u003cstrong\u003eportfolio of original A4 prints (16 sheets) and one A3 folded print\u003c\/strong\u003e — physical photographic objects, not reproductions. This is a magazine conceived as an artifact, not a publication.\u003c\/p\u003e\n\u003ch3\u003eIMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION\u003c\/h3\u003e\n\u003cp\u003eWhile the text is printed in Japanese, you can easily read and study this historic magazine using modern smartphone AI tools. By taking a photo of any page with your smartphone and using free apps like Google Lens, ChatGPT, or Google Translate, the embedded AI will instantly scan and translate the text. Language is no longer a barrier to owning and enjoying this rare piece of Japanese photography history.\u003c\/p\u003e\n\u003ch3\u003eWHY THIS ISSUE IS A PRIZED COLLECTOR'S ITEM\u003c\/h3\u003e\n\u003cp\u003e1. \u003cstrong\u003eTsuchida Hiromi Interview\u003c\/strong\u003e — A rare extended conversation with one of postwar Japan’s most significant documentary photographers, speaking without editorial mediation.\u003c\/p\u003e\n\u003cp\u003e2. \u003cstrong\u003ePhysical Portfolio Included\u003c\/strong\u003e — 16 A4 prints + 1 A3 folded print. Not reproductions — physical photographic objects issued as part of the magazine.\u003c\/p\u003e\n\u003cp\u003e3. \u003cstrong\u003eIndependent Publication\u003c\/strong\u003e — Fuuraisha operated outside mainstream publishing. REPO was made by photographers, for photographers, with no commercial constraint.\u003c\/p\u003e\n\u003cp\u003e4. \u003cstrong\u003eSeries Context\u003c\/strong\u003e — Issue 1 featured Moriyama Daido. Issue 2 features Tsuchida Hiromi and Kitai Kazuo. 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Virtually no signs of handling or wear. Crisp and clean throughout.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBinding:\u003c\/strong\u003e Tight and fully intact.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterior \u0026amp; Pages:\u003c\/strong\u003e Near Fine. No reading creases, no writing, no tears. Portfolio prints complete and undamaged.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOverall:\u003c\/strong\u003e An outstanding survival for a 1994 independent publication — appears essentially unread.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cem\u003e*Please carefully inspect all high-resolution listing photos before purchasing.\u003c\/em\u003e\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65434996015453,"sku":null,"price":48.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8677.jpg?v=1785653764"},{"product_id":"chihei-no11-2018-case-publishing-osaka-photography-momota-shunji","title":"地平 第11号 — Chihei No.11 2018 | Case Publishing | Osaka Photography | Momota Shunji","description":"\u003ch2\u003e地平 第11号 — \u003cem\u003eChihei No.11\u003c\/em\u003e\n\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eCase Publishing, Japan. 2018. Softcover. 182×262mm. 64pp.\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch3\u003eOVERVIEW\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003e地平\u003c\/em\u003e (Chihei) was founded in April 1972 as an independent photography journal, running for ten issues over five years before ceasing publication in 1977. Centred on \u003cstrong\u003eMomota Shunji (百々俨二)\u003c\/strong\u003e — then a teacher at the Osaka Photography School (now Visual Arts College Osaka) — the journal brought together students and fellow photographers aged 20–24, producing work against the backdrop of Japan’s turbulent social landscape of the early 1970s. Member Kuronuma Koichi articulated the journal’s position in terms that remain striking:\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cem\u003e「カメラはぼくらの武器だ。自己表現に終始する回路を断て。写真は閉鎖した感性を脅かす図器のようなものです。見たいのはきみの写真でなく、きみの写真が開示する世界なのです。」\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e“The camera is our weapon. Cut the circuit that terminates in self-expression. Photography is something like a device that threatens closed sensibility. What I want to see is not your photograph — it is the world your photograph reveals.”\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eThis eleventh issue — published in 2018 by Case Publishing, \u003cstrong\u003e41 years after the journal’s suspension\u003c\/strong\u003e — is a revival edition. Seven photographers spanning their 20s to 70s, all connected to Momota Shunji, shoot Osaka as their shared keyword. The result is a multi-generational document of a city and a photographic lineage, anchored by the original journal’s radical premise.\u003c\/p\u003e\n\u003cp\u003eContributors: \u003cstrong\u003eMomota Shunji (百々俨二), Abe Jun (阿部淣), Yamada Shogo (山田省吾), Noguchi Yasuko (野口靖子), Matsuoka Sachi (松岡小智), Akashika Maya (赤鹿摩耶), Urashiba Masafumi (浦苝眞史)\u003c\/strong\u003e.\u003c\/p\u003e\n\u003ch3\u003eIMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION\u003c\/h3\u003e\n\u003cp\u003eWhile the primary text is in Japanese, English captions and notes are included. For full Japanese text, smartphone AI tools (Google Lens, ChatGPT, Google Translate) provide instant translation from any page photograph. Language is no longer a barrier to owning this important document of Japanese photography history.\u003c\/p\u003e\n\u003ch3\u003eWHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM\u003c\/h3\u003e\n\u003cp\u003e1. \u003cstrong\u003e41-Year Revival\u003c\/strong\u003e — The first new issue of Chihei since 1977. A direct continuation of one of the most significant independent photography journals of 1970s Japan.\u003c\/p\u003e\n\u003cp\u003e2. \u003cstrong\u003eMomota Shunji’s Lineage\u003c\/strong\u003e — Seven photographers across generations, all connected to Momota and the original Chihei project. A rare multi-generational document.\u003c\/p\u003e\n\u003cp\u003e3. \u003cstrong\u003eOsaka as Subject\u003c\/strong\u003e — A sustained photographic engagement with a single city across seven distinct practices and perspectives.\u003c\/p\u003e\n\u003cp\u003e4. \u003cstrong\u003eCase Publishing\u003c\/strong\u003e — One of Japan’s most respected independent photography publishers, whose titles are consistently sought by international collectors.\u003c\/p\u003e\n\u003ch3\u003ePRODUCT SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e 地平 第11号 \/ Chihei No.11\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePhotographers:\u003c\/strong\u003e Momota Shunji, Abe Jun, Yamada Shogo, Noguchi Yasuko, Matsuoka Sachi, Akashika Maya, Urashiba Masafumi\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Case Publishing, Japan\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eYear Published:\u003c\/strong\u003e 2018\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFormat:\u003c\/strong\u003e Softcover, 182×262mm, 64pp\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLanguage:\u003c\/strong\u003e Japanese \/ English\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eISBN:\u003c\/strong\u003e 978-4-908526-20-6\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003eCONDITION\u003c\/h3\u003e\n\u003cp\u003eVery Good+\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eCover:\u003c\/strong\u003e Very Good+. Light rubbing and minor scuffing to cover surface and corners, consistent with careful handling. No tears or structural damage.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBinding:\u003c\/strong\u003e Tight and fully intact.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterior \u0026amp; Pages:\u003c\/strong\u003e Near Fine. Clean throughout — no writing, staining, or tears. All photographs fully intact.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cem\u003e*Please carefully inspect all high-resolution listing photos before purchasing.\u003c\/em\u003e\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65435040055645,"sku":null,"price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8670.jpg?v=1785655232"},{"product_id":"shashin-shiron-no3-vol2-1981-ohno-kazuo-shimao-toshio-gekishobo","title":"写真試論 No.3 Vol.2 1981 | Shashin Shiron | Ohno Kazuo | Shimao Toshio | Gekishobo","description":"\u003ch2\u003e写真試論 No.3 Vol.2 — \u003cem\u003eShashin Shiron\u003c\/em\u003e\n\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e写真試論編集委員会（発行）\/ 劇書房（発売）. 1981年1月1日. ソフトカバー. 26×18cm. 64頁.\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch3\u003eOVERVIEW\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003e写真試論\u003c\/em\u003e (Shashin Shiron — “Essays on Photography”) was an independent critical journal published in Japan in the early 1980s, operating at the intersection of photography theory, literature, and performance. Edited and published by the Shashin Shiron Editorial Committee and distributed by Gekishobo, it occupied a rare position in Japanese publishing: a serious theoretical engagement with photography as a cultural and philosophical practice, not a commercial medium.\u003c\/p\u003e\n\u003cp\u003eThis third issue brings together an exceptional range of contributors whose work crosses disciplinary boundaries. \u003cstrong\u003eOhno Kazuo (大野一雄)\u003c\/strong\u003e — one of the founding figures of Butoh, the radical Japanese dance form that emerged from the post-war avant-garde — contributes alongside \u003cstrong\u003eShimao Toshio (島尾敏雄)\u003c\/strong\u003e, one of postwar Japan’s most significant literary figures, and \u003cstrong\u003eUeno Koushi (上野昂志)\u003c\/strong\u003e, a leading film and photography critic. The presence of Ohno Kazuo in a photography journal is itself remarkable — a document of the moment when Butoh, photography, and critical theory were in active dialogue in Japan.\u003c\/p\u003e\n\u003cp\u003eAdditional contributors include Ono Yoko (大野一雄), Adachi Fumito (安達史人), Hashimoto Ko (橋本功), Kamiyama Sadajiro (神山貞次郎), and Arakawa Kenichi (荒川健一).\u003c\/p\u003e\n\u003ch3\u003eIMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION\u003c\/h3\u003e\n\u003cp\u003eWhile the text is printed in Japanese, you can easily read and study this historic journal using modern smartphone AI tools. By taking a photo of any page with your smartphone and using free apps like Google Lens, ChatGPT, or Google Translate, the embedded AI will instantly scan and translate the text. Language is no longer a barrier to owning this rare piece of Japanese critical history.\u003c\/p\u003e\n\u003ch3\u003eWHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM\u003c\/h3\u003e\n\u003cp\u003e1. \u003cstrong\u003eOhno Kazuo Contribution\u003c\/strong\u003e — A founding figure of Butoh contributing to a photography theory journal. A rare document of the dialogue between avant-garde performance and photography in early 1980s Japan.\u003c\/p\u003e\n\u003cp\u003e2. \u003cstrong\u003eShimao Toshio\u003c\/strong\u003e — One of postwar Japan’s most significant literary figures, engaging with photography as a critical subject.\u003c\/p\u003e\n\u003cp\u003e3. \u003cstrong\u003eCross-Disciplinary Scope\u003c\/strong\u003e — Literature, Butoh, film criticism, and photography theory in a single 64-page journal. An unusually concentrated document of Japanese avant-garde culture circa 1981.\u003c\/p\u003e\n\u003cp\u003e4. \u003cstrong\u003eIndependent Publication\u003c\/strong\u003e — Produced outside mainstream publishing channels. Surviving copies in collector circulation are scarce.\u003c\/p\u003e\n\u003ch3\u003ePRODUCT SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e 写真試論 No.3 Vol.2 \/ Shashin Shiron No.3 Vol.2\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eEditor \/ Publisher:\u003c\/strong\u003e 写真試論編集委員会 (Shashin Shiron Editorial Committee)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eDistributor:\u003c\/strong\u003e 劇書房 (Gekishobo)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eYear Published:\u003c\/strong\u003e 1981 (Showa 56) — January 1\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFormat:\u003c\/strong\u003e Softcover, 26×18cm, 64pp\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLanguage:\u003c\/strong\u003e Japanese\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eKey Contributors:\u003c\/strong\u003e Ohno Kazuo (大野一雄), Shimao Toshio (島尾敏雄), Ueno Koji (上野昂志), Hashimoto Ko (橋本功), Kamiyama Sadajiro (神山貞次郎), Arakawa Kenichi (荒川健一)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003eCONDITION\u003c\/h3\u003e\n\u003cp\u003eGood \/ Very Good\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eCover \u0026amp; Pages:\u003c\/strong\u003e Good. Light age-toning (yellowing) to cover and page edges consistent with a 44-year-old Japanese softcover publication. No tears, no writing.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBinding:\u003c\/strong\u003e Tight and intact.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterior:\u003c\/strong\u003e Very Good. Text and any photographs fully legible throughout.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cem\u003e*Please carefully inspect all high-resolution listing photos before purchasing.\u003c\/em\u003e\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65435065024861,"sku":null,"price":35.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8688.jpg?v=1785656280"},{"product_id":"shashin-shiron-no2-vol1-1979-kawada-kikuji-atget-gekishobo","title":"写真試論 No.2 Vol.1 1979 | Shashin Shiron | Kawada Kikuji | Atget | Gekishobo","description":"\u003ch2\u003e写真試論 No.2 Vol.1 — \u003cem\u003eShashin Shiron\u003c\/em\u003e\n\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e写真試論編集委員会（発行）\/ 劇書房（発売）. 1979年. ソフトカバー. 26×18cm. 64頁.\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch3\u003eOVERVIEW\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003e写真試論\u003c\/em\u003e (Shashin Shiron — “Essays on Photography”) was born from one of the most significant photographer collectives of 1970s Japan: \u003cstrong\u003eコネクト・イン (Connect-In)\u003c\/strong\u003e, founded in 1974 by eight photographers — Arakawa Kenichi (荒川健一), Kamijo Michio (上条道夫), Kamiyama Sadajiro (神山貞次郎), Kim Jeong-gon (金正坤), Koseki Naoko (古関直子), Shima Yukihiko (嶋行比古), Hashimoto Ko (橋本功), and Sakata Nobuyuki (坂田信之) — who ran the self-managed gallery “Connect-In \/ Rokuhon Gallery” until 1979. The journal was conceived as “a new common ground shared by photography and criticism.”\u003c\/p\u003e\n\u003cp\u003eThis second issue features two major contributions. \u003cstrong\u003eKawada Kikuji (川田喜久治)\u003c\/strong\u003e contributes \u003cem\u003ePanorama: Tiger Balm Garden (虎豹別荘 \/ タイガー・バウム・ガーデン)\u003c\/em\u003e. \u003cstrong\u003eOshima Hiroshi (大島洋)\u003c\/strong\u003e contributes an essay on \u003cstrong\u003eEugène Atget\u003c\/strong\u003e — his relationship with Paris and his working process.\u003c\/p\u003e\n\u003ch3\u003eIMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION\u003c\/h3\u003e\n\u003cp\u003eWhile the text is printed in Japanese, you can easily read and study this historic journal using modern smartphone AI tools. By taking a photo of any page with your smartphone and using free apps like Google Lens, ChatGPT, or Google Translate, the embedded AI will instantly scan and translate the text.\u003c\/p\u003e\n\u003ch3\u003eWHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM\u003c\/h3\u003e\n\u003cp\u003e1. \u003cstrong\u003eKawada Kikuji Contribution\u003c\/strong\u003e — Rare primary material outside his major monographs.\u003c\/p\u003e\n\u003cp\u003e2. \u003cstrong\u003eAtget Essay\u003c\/strong\u003e — Japanese photography criticism in dialogue with the European documentary tradition.\u003c\/p\u003e\n\u003cp\u003e3. \u003cstrong\u003eConnect-In Document\u003c\/strong\u003e — Published in the final year of the collective. A direct trace of one of the most important photographer groups of 1970s Japan.\u003c\/p\u003e\n\u003ch3\u003ePRODUCT SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e 写真試論 No.2 Vol.1 \/ Shashin Shiron No.2 Vol.1\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eEditor \/ Publisher:\u003c\/strong\u003e 写真試論編集委員会\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eDistributor:\u003c\/strong\u003e 劇書房 (Gekishobo)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eYear Published:\u003c\/strong\u003e 1979 (Showa 54)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFormat:\u003c\/strong\u003e Softcover, 26×18cm, 64pp, B\u0026amp;W\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLanguage:\u003c\/strong\u003e Japanese\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eKey Contributors:\u003c\/strong\u003e Kawada Kikuji (川田喜久治), Oshima Hiroshi (大島洋), Arakawa Kenichi (荒川健一), Kamiyama Sadajiro (神山貞次郎)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003eCONDITION\u003c\/h3\u003e\n\u003cp\u003eGood\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eCover:\u003c\/strong\u003e Good. Two noticeable foxing\/age spots on the upper portion and right side of the front cover. Additional light rubbing and minor soiling to cover edges. No tears or structural damage.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBinding:\u003c\/strong\u003e Intact.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterior \u0026amp; Pages:\u003c\/strong\u003e Age-toning to page edges consistent with a 46-year-old Japanese softcover. Text and photographs fully legible throughout. No writing or tears.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cem\u003e*Please carefully inspect all high-resolution listing photos before purchasing.\u003c\/em\u003e\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65435075346781,"sku":null,"price":35.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8694.jpg?v=1785657229"},{"product_id":"yukei-tsushin-tokyo-air-raids-1953-ishikawa-koyo-secret-photobook","title":"Tokyo Air Raids 1953 First Publication of Secret Photographs by Koyo Ishikawa","description":"\u003ch2\u003eTokyo Air Raids — \u003cem\u003eFirst Publication of Secret Photographs\u003c\/em\u003e\n\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e雄鶏社 (Ondri-sha). 1953 (Showa 28), July. B5. 63pp. Editor: Takeuchi Shuzo. Photography: Ishikawa Koyo.\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch3\u003eOVERVIEW\u003c\/h3\u003e\n\u003cp\u003eOn the night of March 9–10, 1945, over 300 B-29 Superfortresses firebombed Tokyo in what remains one of the deadliest air raids in human history. An estimated 80,000–100,000 civilians were killed in a single night. The photographs taken that night and in the days that followed were classified, suppressed, and kept from public view for eight years.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIshikawa Koyo (石川光陽)\u003c\/strong\u003e was the official photographer of the Tokyo Metropolitan Police. He was there. He photographed the B-29s over the city, the burning of Kanda, the destruction of Ginza, the bodies, the rubble, and the survivors. His photographs were the only systematic official visual record of the raids — and they were locked away until 1953.\u003c\/p\u003e\n\u003cp\u003eThis special issue of \u003cem\u003eYukei Tsushin\u003c\/em\u003e, published in July 1953 and edited by Takeuchi Shuzo, was the first publication to bring these photographs to the Japanese public. Eight years after the end of the war, for the first time, readers could see what had actually happened to their city.\u003c\/p\u003e\n\u003cp\u003eThe chapters document the raids in sequence: B-29s over Tokyo \/ The burning of Kanda \/ Life under the air raids \/ Tokyo reduced to rubble \/ The Ginza in flames and the Ginza today. The final chapter — comparing the destroyed Ginza with its postwar reconstruction — gives the document a temporal dimension that transforms it from a record of destruction into a meditation on survival and erasure.\u003c\/p\u003e\n\u003ch3\u003eIMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION\u003c\/h3\u003e\n\u003cp\u003eWhile the text is printed in Japanese, you can easily read and study this historic document using modern smartphone AI tools. By taking a photo of any page with your smartphone and using free apps like Google Lens, ChatGPT, or Google Translate, the embedded AI will instantly scan and translate the text. Language is no longer a barrier to owning this rare piece of history.\u003c\/p\u003e\n\u003ch3\u003eWHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM\u003c\/h3\u003e\n\u003cp\u003e1. \u003cstrong\u003eFirst Publication of Classified Photographs\u003c\/strong\u003e — Ishikawa Koyo’s photographs were suppressed for eight years after the war. This 1953 issue was their first public appearance. A primary historical document, not a retrospective.\u003c\/p\u003e\n\u003cp\u003e2. \u003cstrong\u003eIshikawa Koyo\u003c\/strong\u003e — The official photographer of the Tokyo Metropolitan Police. The only systematic visual record of the Tokyo air raids made by someone with official access throughout the raids.\u003c\/p\u003e\n\u003cp\u003e3. \u003cstrong\u003e1953 First Publication\u003c\/strong\u003e — Published in the immediate postwar period, when the reconstruction was still visible. The comparative Ginza chapter — destruction and recovery side by side — is only possible in 1953.\u003c\/p\u003e\n\u003cp\u003e4. \u003cstrong\u003eMiraculous Survival\u003c\/strong\u003e — A mass-market magazine special issue from 1953, printed on period paper stock. Surviving copies in this condition are genuinely rare.\u003c\/p\u003e\n\u003ch3\u003ePRODUCT SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e \u003cmeta charset=\"utf-8\"\u003e\n\u003ch2\u003eTokyo Air Raids — \u003cem\u003eFirst Publication of Secret Photographs\u003c\/em\u003e\n\u003c\/h2\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Ondori-sha\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eEditor:\u003c\/strong\u003e Takeuchi Shuzo\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePhotographer:\u003c\/strong\u003e Ishikawa Koyo, Tokyo Metropolitan Police\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eYear Published:\u003c\/strong\u003e 1953 — July\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFormat:\u003c\/strong\u003e B5, 63pp\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLanguage:\u003c\/strong\u003e Japanese\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003eCONDITION\u003c\/h3\u003e\n\u003cp\u003eGood+ — Miraculous Survival for a 72-Year-Old Document\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eCover:\u003c\/strong\u003e Good+. Age-toning and light foxing to cover consistent with a 72-year-old Japanese magazine. Light rubbing to edges. No tears or cuts.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBinding:\u003c\/strong\u003e Tight and fully intact.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterior \u0026amp; Pages:\u003c\/strong\u003e Good+. Age-toning (yellowing) to pages throughout — entirely expected and characteristic of period Japanese paper stock from the early 1950s. No tears, no cuts, no writing. All photographs and text fully legible. An exceptional survival for a document of this age and fragility.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cem\u003e*Please carefully inspect all high-resolution listing photos before purchasing.\u003c\/em\u003e\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65435125809501,"sku":null,"price":36.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8617.jpg?v=1785659064"},{"product_id":"kiyoshi-awazu-design-sketches-1970-first-ed-clear-jacket-slipcase","title":"Kiyoshi Awazu Design Sketches (デザイン図絵) 1970 First ed 1st print clear jacket \u0026 slipcase","description":"\u003cp\u003e\u003cstrong\u003e[TITLE]\u003c\/strong\u003e\u003cbr\u003eKiyoshi Awazu — デザイン図絵 \/ Design Sketches\u003cbr\u003eBijutsu Shuppan-sha (美術出版社), Tokyo, 1970\u003cbr\u003eFirst Edition, First Printing\u003cbr\u003eHardcover with Original Clear Acetate Jacket \u0026amp; Slipcase — Complete\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[OVERVIEW]\u003c\/strong\u003e\u003cbr\u003eKiyoshi Awazu (粟津潔, 1929–2009) was the defining graphic force of postwar Japanese visual culture — a designer whose work fused Constructivist geometry, Zen calligraphic energy, and the raw urgency of the 1960s protest movement into a singular, unmistakable visual language. Poster artist, book designer, film title creator, and theorist, Awazu was not merely a commercial practitioner but a cultural architect who shaped how Japan saw itself in the decades of its most turbulent transformation.\u003c\/p\u003e\n\u003cp\u003ePublished in 1970 — the year of Expo '70 in Osaka, for which Awazu created landmark environmental design — this volume collects his design sketches and working drawings, offering an unmediated view into the creative process of one of the twentieth century's most consequential graphic designers. To hold this book is to hold the working mind of a master at the precise moment of his greatest cultural impact.\u003c\/p\u003e\n\u003cp\u003eThe survival of a first printing copy with both its clear acetate jacket and slipcase still present after 56 years is itself remarkable. Acetate jackets of this era are notoriously vulnerable; that this example remains in place at all places it firmly in the upper tier of surviving copies.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003c\/strong\u003e\u003cbr\u003eWhile the text is printed in Japanese, you can easily read and study this historic book using modern smartphone AI tools! By taking a photo of any page with your smartphone and using free apps like Google Lens, ChatGPT, or Google Translate, the embedded AI will instantly scan and translate the text on your screen layout. Language is no longer a barrier to owning and enjoying this rare piece of international history.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[WHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM]\u003c\/strong\u003e\u003cbr\u003e1. Awazu at the apex of his influence — published in the year of Expo '70, the single most concentrated moment of his public design career\u003cbr\u003e2. Original clear acetate jacket \u0026amp; slipcase both present — an extraordinarily fragile pairing that rarely survives at all after more than five decades\u003cbr\u003e3. Interior pages in exceptional condition — no foxing, no yellowing, no discoloration; the text block is pristine throughout\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[PRODUCT SPECIFICATIONS]\u003c\/strong\u003e\u003cbr\u003e- Author \/ Designer: Kiyoshi Awazu (粟津潔)\u003cbr\u003e- Title: デザイン図絵 \/ Design Sketches\u003cbr\u003e- Publisher: Bijutsu Shuppan-sha (美術出版社), Tokyo\u003cbr\u003e- Year Published: 1970 (Showa 45) — First Edition, First Printing\u003cbr\u003e- Language: Japanese\u003cbr\u003e- Format: Hardcover\u003cbr\u003e- Inclusions: Original Clear Acetate Jacket \u0026amp; Slipcase — Complete\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[CONDITION]\u003c\/strong\u003e\u003cbr\u003eVery Good Vintage Condition — Exceptional Interior; Acetate Jacket with Age-Related Splits\u003c\/p\u003e\n\u003cp\u003e- Slipcase: Structurally sound with light age-toning consistent with 56 years of careful storage; edges show minimal wear.\u003cbr\u003e- Clear Acetate Jacket: with several small splits\/tears at stress points, consistent with the inherent fragility of acetate over five decades. \u003cbr\u003e- Covers \u0026amp; Spine: Clean and firm; no fading, no warping.\u003cbr\u003e- Binding: Tight, secure, and fully intact.\u003cbr\u003e- Interior \u0026amp; Pages: Exceptional — no foxing, no yellowing, no discoloration whatsoever. Pages are bright and clean throughout; no writing, stamps, tears, or ownership marks of any kind. A remarkably well-preserved interior for a 56-year-old volume.\u003cbr\u003e- *Please carefully inspect all high-resolution listing photos to verify condition.\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65482989830493,"sku":null,"price":100.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_87222.jpg?v=1785917748"},{"product_id":"george-nakashima-soul-of-a-tree-1993-exhibition-catalog","title":"George Nakashima - The Soul of a Tree 1993 Exhibition Catalog Woodwork Furniture","description":"\u003cp\u003e\u003cstrong\u003e[TITLE]\u003c\/strong\u003e\u003cbr\u003eGeorge Nakashima — The Soul of a Tree: A Woodworker's Reflections\u003cbr\u003eExhibition Catalog\u003cbr\u003eGeorge Nakashima The Soul of a Tree Committee, 1993\u003cbr\u003eFirst Edition, Softcover — 130 pages, all color photographs\u003cbr\u003eText in English \u0026amp; Japanese\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[OVERVIEW]\u003c\/strong\u003e\u003cbr\u003eGeorge Nakashima (1905–1990) occupies a singular position in the history of twentieth-century design — a Japanese-American woodworker, architect, and philosopher whose furniture transcended craft to become a form of spiritual practice. Trained as an architect at MIT and the École des Beaux-Arts, Nakashima abandoned the modernist grid in favor of the grain, knot, and natural edge of wood itself. His pieces — now held in the permanent collections of the Museum of Modern Art, the Smithsonian, and major private collections worldwide — are among the most sought-after works of American studio craft.\u003c\/p\u003e\n\u003cp\u003ePublished in 1993 to accompany a major retrospective exhibition, this catalog documents Nakashima's life work through 130 pages of full-color photography, presenting his furniture, his philosophy, and the New Hope, Pennsylvania workshop that became one of the most quietly influential design environments of the postwar era. The volume was produced with the care and precision that Nakashima himself brought to every piece of wood he touched.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003c\/strong\u003e\u003cbr\u003eWhile portions of the text are printed in Japanese, you can easily read and study this catalog using modern smartphone AI tools! By taking a photo of any page with your smartphone and using free apps like Google Lens, ChatGPT, or Google Translate, the embedded AI will instantly scan and translate the text on your screen layout. Language is no longer a barrier to owning and enjoying this rare piece of design history.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[PRODUCT SPECIFICATIONS]\u003c\/strong\u003e\u003cbr\u003e- Author \/ Subject: George Nakashima (1905–1990)\u003cbr\u003e- Title: The Soul of a Tree: A Woodworker's Reflections — Exhibition Catalog\u003cbr\u003e- Publisher: George Nakashima The Soul of a Tree Committee\u003cbr\u003e- Year Published: 1993 — First Edition\u003cbr\u003e- Language: English \u0026amp; Japanese (bilingual)\u003cbr\u003e- Format: Softcover\u003cbr\u003e- Pages: 130, all color photographs\u003cbr\u003e- Size: 24 × 25.5 cm\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[CONDITION]\u003c\/strong\u003e\u003cbr\u003eVery Good Vintage Condition — Clean Interior; Light Tanning to Spine and Back Cover\u003c\/p\u003e\n\u003cp\u003e- Cover \u0026amp; Spine: Very Good — light brown tanning and minor spotting along the spine extending to the back cover, consistent with 30+ years of storage. A characteristic patina of age rather than damage.\u003cbr\u003e- Binding: Tight, secure, and fully intact.\u003cbr\u003e- Interior \u0026amp; Pages: Very Good — interior clean throughout; no writing, stamps, tears, or ownership marks. Binding tight with no loosening of pages.\u003cbr\u003e- *Please carefully inspect all high-resolution listing photos to verify condition.\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65483124375901,"sku":null,"price":110.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8342.jpg?v=1785920119"},{"product_id":"antonio-lopez-antonios-new-york-story-78-1978-first-ed","title":"Antonio Lopez - ANTONIO'S NEW YORK STORY'78 1978 First ed","description":"\u003cp\u003e\u003cstrong\u003e[TITLE]\u003c\/strong\u003e\u003cbr\u003eAntonio Lopez — Antonio's New York Story '78\u003cbr\u003eLaforet Harajuku, Tokyo, 1978\u003cbr\u003eFirst Edition — Large-Format Loose-Leaf Portfolio with Slipcase\u003cbr\u003eApproximately 40 works\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[OVERVIEW]\u003c\/strong\u003e\u003cbr\u003eAntonio Lopez (1943–1987) was the most electrifying fashion illustrator of his generation — a Puerto Rican-born artist whose work defined the visual language of fashion from the mid-1960s through the 1980s. Where photography froze a moment, Lopez animated it: his line was alive, his figures moved, his pages crackled with the energy of the streets, the studios, and the clubs where he lived and worked.\u003c\/p\u003e\u003cp\u003eBy 1978, Lopez had made New York his laboratory. Studio 54 was at its peak. Grace Jones was ascending. Divine was a cultural force. Lopez was at the center of it all — drawing, collaborating, and documenting a world that was simultaneously glamorous, transgressive, and utterly alive. This portfolio, produced in conjunction with an exhibition at Laforet Harajuku in Tokyo, captures that precise moment: approximately 40 loose-leaf works presenting Lopez's New York illustrations in a format that feels less like a book and more like an artist's personal archive opened for inspection.\u003c\/p\u003e\u003cp\u003eThat this portfolio was produced by Laforet Harajuku — the epicenter of Tokyo's avant-garde fashion culture in the late 1970s — adds a further layer of cultural significance. Lopez had a deep and reciprocal relationship with Japan's fashion world; this publication is a document of that exchange.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003c\/strong\u003e\u003cbr\u003eAny Japanese text in this portfolio can be easily read using modern smartphone AI tools. By taking a photo of any page with your smartphone and using free apps like Google Lens, ChatGPT, or Google Translate, the embedded AI will instantly scan and translate the text on your screen. Language is no longer a barrier to owning this rare piece of fashion history.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[WHY THIS PORTFOLIO IS A PRIZED COLLECTOR'S ITEM]\u003c\/strong\u003e\u003cbr\u003e1. Lopez at the height of his New York period — 1978 was the apex of the Studio 54 era, and Lopez was its visual chronicler\u003cbr\u003e2. Loose-leaf portfolio format — not a bound book but an artist's print collection; each sheet is a displayable work\u003cbr\u003e3. Laforet Harajuku provenance — produced at the intersection of Lopez's world and Tokyo's most forward fashion institution\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[PRODUCT SPECIFICATIONS]\u003c\/strong\u003e\u003cbr\u003e- Artist \/ Illustrator: Antonio Lopez (1943–1987)\u003cbr\u003e- Title: Antonio's New York Story '78\u003cbr\u003e- Publisher: Laforet Harajuku, Tokyo\u003cbr\u003e- Year Published: 1978 — First Edition\u003cbr\u003e- Format: Large-format loose-leaf portfolio in slipcase\u003cbr\u003e- Works: Approximately 40 loose-leaf illustrations\u003cbr\u003e- Language: Japanese \/ English\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[CONDITION]\u003c\/strong\u003e\u003cbr\u003eVery Good Vintage Condition — Exceptionally Well-Preserved; Among the Finest Surviving Examples\u003c\/p\u003e\u003cp\u003eLoose-leaf portfolios of this era are notoriously difficult to find intact: sheets scatter, slipcases split, and the passage of nearly five decades takes its toll. This example is a rare exception. In nearly 30 years of handling rare books and ephemera, copies in this state of preservation are genuinely uncommon.\u003c\/p\u003e\u003cp\u003e- Slipcase: Very Good — clean and structurally sound with light age-toning consistent with careful storage over nearly five decades.\u003cbr\u003e- Contents: Very Good — all illustration works present and in excellent condition throughout. Please note: the List of Works sheet (1 of the 13 accompanying text sheets) is missing. All approximately 40 illustration plates are present and accounted for. This is disclosed honestly and reflected in the pricing.\u003cbr\u003e- *Please carefully inspect all high-resolution listing photos to verify condition.\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65485010141533,"sku":null,"price":85.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_7370.jpg?v=1785925470"},{"product_id":"yukio-mishima-yukoku-ki-6th-memorial-1975-poster-program-gekibun","title":"Yukio Mishima — 6th Annual Yukoku-ki Memorial Ceremony 1975 Original Poster with Program \u0026 Gekibun","description":"\u003cp\u003e\u003cstrong\u003e[PRODUCT SPECIFICATIONS]\u003c\/strong\u003e\u003cbr\u003e- Subject: Yukio Mishima (三島由紀夫, 1925–1970)\u003cbr\u003e- Event: 憂国忌 第6回追悸会 \/ Yukoku-ki 6th Annual Memorial Ceremony\u003cbr\u003e- Year: 1975 (Showa 50), November 25\u003cbr\u003e- Format: Folded poster, 72.5 × 25.5 cm (unfolded)\u003cbr\u003e- Inclusions: Original Program (式次第) + Gekibun Manifesto (檄) by Yukio Mishima — Complete\u003cbr\u003e- Language: Japanese\u003cbr\u003e- Origin: Japan\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[OVERVIEW]\u003c\/strong\u003e\u003cbr\u003eHe saw it coming. Fifty years ago, Yukio Mishima wrote:\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cem\u003e「私はこれからの日本に大して希望をつなぐことができない。このまま行ったら『日本』はなくなってしまうのではないかという感を日ましに深くする。日本はなくなって、その代わりに、無機的な、からっぽな、ニュートラルな、中間色の、富裕な、抜目がない、或る経済的大国が極東の一角に残るのであろう。それでもいいと思っている人たちと、私は口をきく気にもなれなくなっているのである」\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003e\u003cem\u003e\"I can no longer connect my hopes to the Japan that lies ahead. The feeling deepens daily that Japan, as Japan, may simply cease to exist. Japan will disappear, and in its place will remain a merely economic superpower — inorganic, empty, neutral, colorless, wealthy, shrewd — occupying a corner of the Far East. I find I can no longer bring myself to speak with those who find that acceptable.\"\u003c\/em\u003e\u003cbr\u003e— Yukio Mishima, \u003cem\u003e\"A Promise Unfulfilled\"\u003c\/em\u003e (果たし得ていない約束), 1970\u003c\/p\u003e\n\u003cp\u003eAnd then — it happened. Not with a bang, but with the slow, imperceptible erosion he had named: inorganic, empty, neutral, colorless, wealthy, shrewd. The Japan he feared did not fall — it dissolved, from within, into exactly the economic superpower he could not bring himself to accept.\u003c\/p\u003e\n\u003cp\u003eWhat Mishima dreaded as a Japanese catastrophe has since become the condition of the entire world. The \"inorganic, neutral world\" he named in 1970 is, in 2026, the AI-saturated, fully digitized, automated, and homogenized global civilization we now inhabit — a world where everything is optimized, nothing is sacred, and efficiency has replaced meaning. Every culture flattened. Every friction eliminated. Every human impulse processed, predicted, and monetized.\u003c\/p\u003e\n\u003cp\u003eOn November 25, 1970, Mishima performed seppuku at the Japan Self-Defense Forces headquarters in Tokyo. In the years that followed, members of the Tatenokai — Mishima's own private militia — and those who shared his convictions established the \u003cstrong\u003eYukoku-ki (憂国忌)\u003c\/strong\u003e — an annual memorial ceremony held each November 25th. This poster is an artifact of the \u003cstrong\u003e6th Yukoku-ki, held in 1975 (Showa 50)\u003c\/strong\u003e — five years after his death, when the wound was still raw.\u003c\/p\u003e\n\u003cp\u003eThe poster — 72.5 × 25.5 cm unfolded, stored in four folds — was designed to be displayed at the ceremony and carried away by those who attended. That it survives at all, in this condition, after 50 years, is itself a minor miracle of preservation. It is accompanied by the original program (式次第) documenting the ceremony's proceedings, and most extraordinarily, by Mishima's own \u003cem\u003egekibun\u003c\/em\u003e (檄) — the manifesto he distributed on the day of his death. To hold these three documents together is to hold the act, and the remembrance of the act, in a single set of hands.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003c\/strong\u003e\u003cbr\u003eJapanese text in the program and gekibun can be easily read using Google Lens, ChatGPT, or Google Translate on any smartphone. Language is no longer a barrier to engaging with this extraordinary document.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[WHY THIS IS A PRIZED COLLECTOR'S ITEM]\u003c\/strong\u003e\u003cbr\u003e1. 6th Yukoku-ki (1975) — among the earliest annual memorial ceremonies; ephemera from this period is extraordinarily scarce\u003cbr\u003e2. Complete three-piece set: poster + program + Mishima's own gekibun — surviving together after 50 years\u003cbr\u003e3. Mishima's prophecy has been fulfilled — his words resonate now more than ever, driving global demand among collectors, technologists, and philosophers\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[CONDITION]\u003c\/strong\u003e\u003cbr\u003eVery Good Vintage Condition — Exceptional Survival for Ephemera of This Significance\u003c\/p\u003e\n\u003cp\u003e- Poster: Very Good — fold lines present and consistent with storage over 50 years; no tears, no loss, color strong and legible throughout.\u003cbr\u003e- Program (式次第): Very Good — clean, intact, no damage.\u003cbr\u003e- Gekibun (檄): Very Good — Mishima's manifesto present and fully legible; light age-toning consistent with 50 years of careful storage.\u003cbr\u003e- *Please carefully inspect all high-resolution listing photos to verify condition.\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65549390774621,"sku":null,"price":170.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8881.jpg?v=1786506223"},{"product_id":"yukio-mishima-yukoku-ki-6th-memorial-1975-original-poster","title":"Yukio Mishima — 6th Annual Yukoku-ki Memorial Ceremony 1975 Original Folded Poster","description":"\u003cp\u003e\u003cstrong\u003e[PRODUCT SPECIFICATIONS]\u003c\/strong\u003e\u003cbr\u003e- Subject: Yukio Mishima (三島由紀夫, 1925–1970)\u003cbr\u003e- Event: 憂国忌 第6回追悸会 \/ Yukoku-ki 6th Annual Memorial Ceremony\u003cbr\u003e- Year: 1975 (Showa 50), November 25\u003cbr\u003e- Format: Folded poster, 72.5 × 25.5 cm (unfolded)\u003cbr\u003e- Inclusions: Poster only\u003cbr\u003e- Language: Japanese\u003cbr\u003e- Origin: Japan\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[OVERVIEW]\u003c\/strong\u003e\u003cbr\u003eHe saw it coming. Fifty years ago, Yukio Mishima wrote:\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cem\u003e「私はこれからの日本に大して希望をつなぐことができない。このまま行ったら『日本』はなくなってしまうのではないかという感を日ましに深くする。日本はなくなって、その代わりに、無機的な、からっぽな、ニュートラルな、中間色の、富裕な、抜目がない、或る経済的大国が極東の一角に残るのであろう。それでもいいと思っている人たちと、私は口をきく気にもなれなくなっているのである」\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003e\u003cem\u003e\"I can no longer connect my hopes to the Japan that lies ahead. The feeling deepens daily that Japan, as Japan, may simply cease to exist. Japan will disappear, and in its place will remain a merely economic superpower — inorganic, empty, neutral, colorless, wealthy, shrewd — occupying a corner of the Far East. I find I can no longer bring myself to speak with those who find that acceptable.\"\u003c\/em\u003e\u003cbr\u003e— Yukio Mishima, \u003cem\u003e\"A Promise Unfulfilled\"\u003c\/em\u003e (果たし得ていない約束), 1970\u003c\/p\u003e\n\u003cp\u003eAnd then — it happened. Not with a bang, but with the slow, imperceptible erosion he had named: inorganic, empty, neutral, colorless, wealthy, shrewd. The Japan he feared did not fall — it dissolved, from within, into exactly the economic superpower he could not bring himself to accept.\u003c\/p\u003e\n\u003cp\u003eWhat Mishima dreaded as a Japanese catastrophe has since become the condition of the entire world. The \"inorganic, neutral world\" he named in 1970 is, in 2026, the AI-saturated, fully digitized, automated, and homogenized global civilization we now inhabit — a world where everything is optimized, nothing is sacred, and efficiency has replaced meaning. Every culture flattened. Every friction eliminated. Every human impulse processed, predicted, and monetized.\u003c\/p\u003e\n\u003cp\u003eOn November 25, 1970, Mishima performed seppuku at the Japan Self-Defense Forces headquarters in Tokyo. In the years that followed, members of the Tatenokai — Mishima's own private militia — and those who shared his convictions established the \u003cstrong\u003eYukoku-ki (憂国忌)\u003c\/strong\u003e — an annual memorial ceremony held each November 25th. This poster is an artifact of the \u003cstrong\u003e6th Yukoku-ki, held in 1975 (Showa 50)\u003c\/strong\u003e — five years after his death, when the wound was still raw.\u003c\/p\u003e\n\u003cp\u003eThe poster — 72.5 × 25.5 cm unfolded, stored in four folds — was designed to be displayed at the ceremony and carried away by those who attended. That it survives at all, in this condition, after 50 years, is itself a minor miracle of preservation.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003c\/strong\u003e\u003cbr\u003eAny Japanese text can be easily read using Google Lens, ChatGPT, or Google Translate on any smartphone. Language is no longer a barrier to owning this rare piece of history.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[WHY THIS IS A PRIZED COLLECTOR'S ITEM]\u003c\/strong\u003e\u003cbr\u003e1. 6th Yukoku-ki (1975) — among the earliest annual memorial ceremonies; ephemera from this period is extraordinarily scarce\u003cbr\u003e2. Large-format folded poster — designed for display; a striking visual artifact of one of Japan's most charged cultural moments\u003cbr\u003e3. Mishima as counter-signal — in an age of AI and total digitization, his refusal of the inorganic world has made him the defining icon for a generation that built the machine and now fears what it has made\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[CONDITION]\u003c\/strong\u003e\u003cbr\u003eVery Good Vintage Condition — Exceptional Survival for Ephemera of This Significance\u003c\/p\u003e\n\u003cp\u003e- Poster: Very Good — fold lines present and consistent with storage over 50 years; no tears, no loss, color strong and legible throughout.\u003cbr\u003e- *Please carefully inspect all high-resolution listing photos to verify condition.\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65549483114845,"sku":null,"price":110.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8883_931090ea-95bc-4605-954d-c8e6e0963b49.jpg?v=1786509046"},{"product_id":"yukio-mishima-yukoku-ki-4th-memorial-1973-original-flyer","title":"Yukio Mishima — 4th Annual Yukoku-ki Memorial Ceremony 1973 Original Flyer","description":"\u003cp\u003e\u003cstrong\u003e[PRODUCT SPECIFICATIONS]\u003c\/strong\u003e\u003cbr\u003e- Subject: Yukio Mishima (三島由紀夫, 1925–1970)\u003cbr\u003e- Event: 憂国忌 第4回追悸会 \/ Yukoku-ki 4th Annual Memorial Ceremony\u003cbr\u003e- Year: 1973 (Showa 48), November 25\u003cbr\u003e- Format: Flyer, 30 × 21 cm\u003cbr\u003e- Inclusions: Flyer only\u003cbr\u003e- Language: Japanese\u003cbr\u003e- Origin: Japan\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[OVERVIEW]\u003c\/strong\u003e\u003cbr\u003eHe saw it coming. Fifty years ago, Yukio Mishima wrote:\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cem\u003e「私はこれからの日本に大して希望をつなぐことができない。このまま行ったら『日本』はなくなってしまうのではないかという感を日ましに深くする。日本はなくなって、その代わりに、無機的な、からっぽな、ニュートラルな、中間色の、富裕な、抜目がない、或る経済的大国が極東の一角に残るのであろう。それでもいいと思っている人たちと、私は口をきく気にもなれなくなっているのである」\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003e\u003cem\u003e\"I can no longer connect my hopes to the Japan that lies ahead. The feeling deepens daily that Japan, as Japan, may simply cease to exist. Japan will disappear, and in its place will remain a merely economic superpower — inorganic, empty, neutral, colorless, wealthy, shrewd — occupying a corner of the Far East. I find I can no longer bring myself to speak with those who find that acceptable.\"\u003c\/em\u003e\u003cbr\u003e— Yukio Mishima, \u003cem\u003e\"A Promise Unfulfilled\"\u003c\/em\u003e (果たし得ていない約束), 1970\u003c\/p\u003e\n\u003cp\u003eAnd then — it happened. Not with a bang, but with the slow, imperceptible erosion he had named: inorganic, empty, neutral, colorless, wealthy, shrewd. The Japan he feared did not fall — it dissolved, from within, into exactly the economic superpower he could not bring himself to accept.\u003c\/p\u003e\n\u003cp\u003eWhat Mishima dreaded as a Japanese catastrophe has since become the condition of the entire world. The \"inorganic, neutral world\" he named in 1970 is, in 2026, the AI-saturated, fully digitized, automated, and homogenized global civilization we now inhabit — a world where everything is optimized, nothing is sacred, and efficiency has replaced meaning. Every culture flattened. Every friction eliminated. Every human impulse processed, predicted, and monetized.\u003c\/p\u003e\n\u003cp\u003eOn November 25, 1970, Mishima performed seppuku at the Japan Self-Defense Forces headquarters in Tokyo. In the years that followed, members of the Tatenokai — Mishima's own private militia — and those who shared his convictions established the \u003cstrong\u003eYukoku-ki (憂国忌)\u003c\/strong\u003e — an annual memorial ceremony held each November 25th. This \u003cmeta charset=\"utf-8\"\u003e flyer is an artifact of the 4\u003cstrong\u003eth Yukoku-ki, held in 1973 (Showa 48)\u003c\/strong\u003e — four years after his death, when the wound was still raw.\u003c\/p\u003e\n\u003cp\u003eAt 30 × 21 cm — a compact, hand-distributed format — this flyer was made to be passed from hand to hand among those who gathered to remember. That it survives at all, more than 50 years later, speaks to the care of whoever kept it. Ephemera from the earliest Yukoku-ki ceremonies is among the rarest of all Mishima-related collectibles: produced in small quantities, distributed at the event, and almost never preserved.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003c\/strong\u003e\u003cbr\u003eAny Japanese text can be easily read using Google Lens, ChatGPT, or Google Translate on any smartphone. Language is no longer a barrier to owning this rare piece of history.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[WHY THIS IS A PRIZED COLLECTOR'S ITEM]\u003c\/strong\u003e\u003cbr\u003e1. 4th Yukoku-ki (1973) — only three years after Mishima's death; among the earliest surviving memorial ephemera\u003cbr\u003e2. Hand-distributed flyer format — produced in small quantities, almost never preserved; this is primary historical material\u003cbr\u003e3. Mishima's prophecy has been fulfilled — his words resonate now more than ever, driving global demand among collectors, technologists, and philosophers\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[CONDITION]\u003c\/strong\u003e\u003cbr\u003eVery Good Vintage Condition — Exceptional Survival for Ephemera of This Age\u003c\/p\u003e\n\u003cp\u003e- Flyer: Very Good — A fold line down the middle.otherwise clean and structurally intact; light age-toning consistent with 50+ years of careful storage. No tears, no loss.\u003cbr\u003e- *Please carefully inspect all high-resolution listing photos to verify condition.\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65549499203933,"sku":null,"price":85.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8903_df99335c-62b5-40dc-b166-3c91b6aa35af.jpg?v=1786513477"},{"product_id":"shuji-terayama-jidai-no-shashu-1967-first-ed-1st-print-daido-moriyama-photos-ikko-tanaka-design","title":"Shuji Terayama: Jidai no Shashu - 1967 First ed 1st print Daido Moriyama Photos, Ikko Tanaka Design","description":"\u003cp\u003e\u003cstrong\u003e[PRODUCT SPECIFICATIONS]\u003c\/strong\u003e\u003cbr\u003e- Author: Shuji Terayama (寺山修司)\u003cbr\u003e- Title: Jidai no Shashu (時代の射手) — \"The Marksman of the Age\"\u003cbr\u003e- Publisher: Haga Shoten (芳賀書店)\u003cbr\u003e- Year Published: 1967 First ed 1st print\u003cbr\u003e- Language: Japanese\u003cbr\u003e- Format: Hardcover, 316 pages, 19.5 × 13.5 cm\u003cbr\u003e- Photography: Daido Moriyama (森山大道)\u003cbr\u003e- Book Design: Ikko Tanaka (田中一光)\u003cbr\u003e- Inclusions: None (no obi or slipcase)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[OVERVIEW]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eJidai no Shashu\u003c\/em\u003e — \"The Marksman of the Age\" — stands as one of the most electrifying documents of Japan's cultural insurrection of the 1960s. Written by Shuji Terayama, the enfant terrible of Japanese avant-garde theatre, poetry, and film, this volume is a manifesto disguised as prose: a sustained assault on postwar conformity, bourgeois domesticity, and the suffocating weight of tradition.\u003c\/p\u003e\n\u003cp\u003eThe book's visual identity is inseparable from its content. Daido Moriyama — then at the very threshold of his legendary career — contributed raw, grain-saturated monochrome photographs to this volume, while Ikko Tanaka, one of Japan's supreme graphic designers, conceived the stark, hypnotic cover that has made this book instantly recognizable to collectors worldwide. The collision of these three titans of Japanese modernism in a single object is, by any measure, a singular event in postwar publishing history.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWhile the text is printed in Japanese, you can easily read and study this historic book using modern smartphone AI tools! By taking a photo of any page with your smartphone and using free apps like Google Lens, ChatGPT, or Google Translate, the embedded AI will instantly scan and translate the text on your screen layout. Language is no longer a barrier to owning and enjoying this rare piece of international history.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[CONDITION]\u003c\/strong\u003e\u003cbr\u003eGood Vintage Condition — Honest Survivor\u003c\/p\u003e\n\u003cp\u003e- Covers \u0026amp; Spine: The bold black-and-white boards retain their graphic impact with the natural patina of nearly 60 years. Signs of wear from age are visible on the upper back.Slight damage to the corner of the cover. Signs of tape repair on the back.\u003cbr\u003e- Binding: Tight, secure, and fully intact.\u003cbr\u003e- Interior \u0026amp; Pages: Pages present cleanly throughout.Light soiling to the page edges (fore-edge). No tears, no underlining, no further markings.\u003cbr\u003e- *Please carefully inspect all high-resolution listing photos to verify the exceptional vintage condition.*\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65551064007005,"sku":null,"price":50.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_9345.jpg?v=1789024443"},{"product_id":"マルキ-ド-サド-閨房哲学-祖父江喬-春潮社-昭和23年","title":"Marquis de Sade: La Philosophie dans le Boudoir — First Japanese Translation, 1948 (Showa 23)","description":"\u003cp\u003e\u003cstrong\u003e[PRODUCT SPECIFICATIONS]\u003c\/strong\u003e\u003cbr\u003e- Author: Marquis de Sade (マルキ・ド・サド \/ Donatien Alphonse François, Marquis de Sade)\u003cbr\u003e- Title: 閨房哲学 (Keibou Tetsugaku) — Japanese translation of \u003cem\u003eLa Philosophie dans le Boudoir\u003c\/em\u003e (1795)\u003cbr\u003e- Translator: Sobue Takashi (祖父江喬)\u003cbr\u003e- Book Design: Kumada Goro (熊田五郎)\u003cbr\u003e- Publisher: Shunchōsha (春潮社) \u003cbr\u003e- Year Published: 1948 (Showa 23)\u003cbr\u003e- Language: Japanese\u003cbr\u003e- Format: Softcover, 196 pages, 17.8 × 12.5 × 1.2 cm\u003cbr\u003e- Inclusions: None\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[OVERVIEW]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLa Philosophie dans le Boudoir\u003c\/em\u003e — composed by the Marquis de Sade in 1795, in the immediate aftermath of the Terror — is one of the most incendiary philosophical texts in the Western canon. Cast as a series of dialogues conducted in a boudoir, it deploys libertine excess as a vehicle for radical Enlightenment argument: against religion, against bourgeois morality, against the hypocrisies of the new Republic. Its central pamphlet, \u003cem\u003eFrançais, encore un effort si vous voulez être républicains\u003c\/em\u003e, remains one of the most provocative political tracts of the revolutionary era.\u003c\/p\u003e\n\u003cp\u003eThis 1948 Japanese edition — published in the immediate postwar period, when censorship had only just lifted and intellectual Japan was ravenously consuming forbidden Western thought — represents a significant moment in the reception of Sade in Japan. Translator Sobue Takashi's two-page afterword is, by the seller's own account, a substantial and rewarding text in its own right.\u003c\/p\u003e\n\u003cp\u003eWhat makes this copy immediately arresting is its cover: a pale celadon ground embossed with white chrysanthemum motifs, framing a central silhouette illustration in the cut-paper style — a design vocabulary rooted firmly in the Japanese book arts of the late 1930s (Showa 13 era). The result is a cover of extraordinary incongruity and beauty: Sade's most transgressive text dressed in the restrained elegance of prewar Japanese graphic design.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWhile the text is printed in Japanese, you can easily read and study this historic book using modern smartphone AI tools! By taking a photo of any page with your smartphone and using free apps like Google Lens, ChatGPT, or Google Translate, the embedded AI will instantly scan and translate the text on your screen layout. Language is no longer a barrier to owning and enjoying this rare piece of international history.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[WHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1. \u003cstrong\u003eHistorical \u0026amp; Documentary Value\u003c\/strong\u003e — A primary document of postwar Japanese intellectual life: Sade in Japanese translation, published in 1948 in the charged atmosphere of Occupation-era Tokyo. The table of contents alone — covering sodomy, adultery, murder, and the famous republican pamphlet — signals the audacity of this publication.\u003c\/p\u003e\n\u003cp\u003e2. \u003cstrong\u003eVisual \u0026amp; Artistic Value\u003c\/strong\u003e — The cover design by Kumada Goro is a collector's object in its own right. The pale celadon cloth with embossed chrysanthemum pattern and central silhouette vignette belongs to the refined aesthetic of late-1930s Japanese book design — a style that reached its peak around Showa 13 (1938) and was largely extinguished by wartime austerity. To find it clothing Sade's most notorious text is a collision of sensibilities that no designer would dare attempt today.\u003c\/p\u003e\n\u003cp\u003e3. \u003cstrong\u003eRarity of This Specific Edition\u003c\/strong\u003e — While Japanese translations of Sade exist, this particular 1948 Shunchōsha edition — with Kumada Goro's distinctive prewar-style binding — is considerably scarcer than later printings and is rarely encountered in collectible condition outside Japan.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[CONDITION]\u003c\/strong\u003e\u003cbr\u003eGood Vintage Condition — Honest Survivor\u003c\/p\u003e\n\u003cp\u003e- Covers \u0026amp; Spine: Shows the honest wear of nearly eight decades. Foxing present to covers, top and bottom edges, and fore-edge — entirely consistent with paper of this era and origin. The celadon cloth and embossed design remain legible and characterful.\u003cbr\u003e- Binding: Intact.\u003cbr\u003e- Interior \u0026amp; Pages: Foxing present throughout the text block, consistent with age. No inscriptions, no underlining, no annotations of any kind.\u003cbr\u003e- *Please carefully inspect all high-resolution listing photos to verify the exceptional vintage condition.*\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65552032039261,"sku":null,"price":48.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8781_a06b6109-040c-414d-bfe5-b8c7df7e4032.jpg?v=1786528935"},{"product_id":"raymond-radiguet-le-diable-au-corps-nikutai-no-akuma-trans-watanabe-akimasa-jinbun-shoin-1951","title":"Raymond Radiguet: Le Diable au Corps — Nikutai no Akuma, Trans. Watanabe Akimasa, Jinbun Shoin 1951","description":"\u003cp\u003e\u003cstrong\u003e[PRODUCT SPECIFICATIONS]\u003c\/strong\u003e\u003cbr\u003e- Author: Raymond Radiguet (レーモン・ラディゲ)\u003cbr\u003e- Title: 肉体の悪魔 — 魔に憑かれて (Nikutai no Akuma: Ma ni Tsukarete) — Japanese translation of \u003cem\u003eLe Diable au Corps\u003c\/em\u003e (1923)\u003cbr\u003e- Translator: Watanabe Akimasa (渡邉明正)\u003cbr\u003e- Publisher: Jinbun Shoin (人文書院)\u003cbr\u003e- Year Published: 1951 (Showa 26) — First Edition\u003cbr\u003e- Language: Japanese\u003cbr\u003e- Format: Hardcover with dust jacket and obi, 228 pages\u003cbr\u003e- Inclusions: Obi (band) present\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[OVERVIEW]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eLe Diable au Corps\u003c\/em\u003e — written by Raymond Radiguet at the age of seventeen and published in 1923 to immediate scandal and sensation — is one of the most precocious masterworks in French literature. A spare, merciless psychological novel set during the First World War, it recounts the affair between a teenage boy and a young married woman whose husband is at the front. Its cool, classical prose — indebted to Stendhal and the \u003cem\u003emoralistes\u003c\/em\u003e — conceals a devastatingly modern emotional intelligence. Radiguet died of typhoid fever the same year of its publication, aged twenty. The legend was complete.\u003c\/p\u003e\u003cp\u003eThis 1951 Jinbun Shoin edition — translated by Watanabe Akimasa and subtitled \u003cem\u003eMa ni Tsukarete\u003c\/em\u003e (魔に憑かれて, \"Possessed by the Demon\") — is among the earliest and most distinguished Japanese translations of the novel. The dust jacket reproduces a line portrait of Radiguet drawn by Jean Cocteau in 1919: a single red-ink contour of the young writer's profile, signed and dated, that serves as both frontispiece and emblem of the intimate artistic bond between the two men. The pale cream upper panel and mint-green lower band carrying the French title in elegant italic typography make this one of the most quietly beautiful book designs in postwar Japanese publishing.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eWhile the text is printed in Japanese, you can easily read and study this historic book using modern smartphone AI tools! By taking a photo of any page with your smartphone and using free apps like Google Lens, ChatGPT, or Google Translate, the embedded AI will instantly scan and translate the text on your screen layout. Language is no longer a barrier to owning and enjoying this rare piece of international history.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[WHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e1. \u003cstrong\u003eHistorical \u0026amp; Literary Value\u003c\/strong\u003e — Radiguet's \u003cem\u003eLe Diable au Corps\u003c\/em\u003e is a canonical text of twentieth-century French literature, and this 1951 Jinbun Shoin edition is among the earliest Japanese translations — a primary document of postwar Japan's passionate engagement with French modernism.\u003c\/p\u003e\u003cp\u003e2. \u003cstrong\u003eVisual \u0026amp; Artistic Value\u003c\/strong\u003e — The dust jacket reproduces Cocteau's 1919 portrait of Radiguet in red line on cream — one of the most iconic images in French literary history — paired with a mint-green obi bearing the French title in italic. The design is restrained, elegant, and entirely of its era.\u003c\/p\u003e\u003cp\u003e3. \u003cstrong\u003eRarity\u003c\/strong\u003e — First editions of this Jinbun Shoin translation with intact dust jacket and obi are seldom encountered. The combination of jacket, obi, and interior in good condition represents an exceptional survival for a 75-year-old Japanese paperback.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[CONDITION]\u003c\/strong\u003e\u003cbr\u003eGood Vintage Condition — With Obi\u003c\/p\u003e\u003cp\u003e- Dust Jacket \u0026amp; Obi: Small tear to the upper edge of the dust jacket. Obi present and intact. Overall the jacket retains its graphic character well.\u003cbr\u003e- Covers \u0026amp; Spine: Firm and square.\u003cbr\u003e- Binding: Tight, secure, and fully intact.\u003cbr\u003e- Interior \u0026amp; Pages: Interior and all inclusions in good condition. No inscriptions, no underlining.\u003cbr\u003e- *Please carefully inspect all high-resolution listing photos to verify the exceptional vintage condition.*\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65552733208925,"sku":null,"price":45.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8739.jpg?v=1786530143"},{"product_id":"henri-barbusse-lenfer-jigoku-trans-komaki-omi-sojusha-1950-showa-25-5th-printing-with-obi","title":"Henri Barbusse: L'Enfer — Jigoku, Trans. Komaki Omi, Sojusha 1950 (Showa 25) with Obi","description":"\u003cp\u003e\u003cstrong\u003e[PRODUCT SPECIFICATIONS]\u003c\/strong\u003e\u003cbr\u003e- Author: Henri Barbusse (アンリ・バルビュス)\u003cbr\u003e- Title: 地獄 (Jigoku) — Japanese translation of \u003cem\u003eL'Enfer\u003c\/em\u003e (1908)\u003cbr\u003e- Translator: Komaki Omi (小牧近江)\u003cbr\u003e- Publisher: Sojusha (蒼樹社)\u003cbr\u003e- Year Published: 1950 (Showa 25) — 5th Printing\u003cbr\u003e- Language: Japanese\u003cbr\u003e- Format: Hardcover with dust jacket and obi, 328 pages, B6\u003cbr\u003e- Inclusions: Obi (band) present\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[OVERVIEW]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eL'Enfer\u003c\/em\u003e — published by Henri Barbusse in 1908, a decade before his Prix Goncourt-winning \u003cem\u003eLe Feu\u003c\/em\u003e — is one of the most audacious novels in the French naturalist tradition. Its unnamed narrator, installed in a cheap Parisian hotel room, discovers a crack in the wall through which he can observe, unseen, the intimate lives of the room's successive occupants: lovers, the dying, the grieving, the ecstatic. What begins as voyeurism becomes a sustained philosophical meditation on desire, mortality, and the human condition. Banned in several countries on publication, it circulated as a clandestine classic for decades before achieving its rightful place in the canon.\u003c\/p\u003e\u003cp\u003eThis 1950 Sojusha edition — translated by the distinguished leftist intellectual and France-Japan cultural bridge Komaki Omi — is the first complete Japanese translation of the novel, as the obi proudly announces: \u003cem\u003eKanchu no mondai no shosetsu, Nihon-ban hajimete kannyaku naru\u003c\/em\u003e (「刷中の問题の小説、日本版初めて完訳成る」). The obi further notes that the French edition had been reprinting continuously since 1939 — a testament to the novel's enduring power. The fact that this copy is a 5th printing, achieved in rapid succession from the first edition, speaks to the hunger with which postwar Japanese readers consumed this long-forbidden text. The bold black-and-red dust jacket — with its stark typographic design — is a fine example of early 1950s Japanese book design.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eWhile the text is printed in Japanese, you can easily read and study this historic book using modern smartphone AI tools! By taking a photo of any page with your smartphone and using free apps like Google Lens, ChatGPT, or Google Translate, the embedded AI will instantly scan and translate the text on your screen layout. Language is no longer a barrier to owning and enjoying this rare piece of international history.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[WHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e1. \u003cstrong\u003eHistorical \u0026amp; Literary Value\u003c\/strong\u003e — The first complete Japanese translation of Barbusse's scandalous masterwork, published in 1950 when Japan was rediscovering the forbidden literature of the West. Komaki Omi — who had lived in France and was a key conduit of French leftist and literary culture to Japan — was the ideal translator for this text.\u003c\/p\u003e\u003cp\u003e2. \u003cstrong\u003eVisual \u0026amp; Artistic Value\u003c\/strong\u003e — The dust jacket's bold black ground with red title panel and bilingual typography (地獄 \/ L'ENFER \/ HENRI BARBUSSE) is a striking piece of early postwar Japanese graphic design — direct, unornamented, and entirely confident.\u003c\/p\u003e\u003cp\u003e3. \u003cstrong\u003eRarity \u0026amp; Demand\u003c\/strong\u003e — The obi — which documents the translation rights, the novel's continuous French reprinting since 1939, and its status as the first complete Japanese edition — is itself a primary document. Copies with intact obi from this edition are seldom found outside Japan.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[CONDITION]\u003c\/strong\u003e\u003cbr\u003eGood Vintage Condition — With Obi\u003c\/p\u003e\u003cp\u003e- Dust Jacket \u0026amp; Obi: Small tears to the upper and lower edges of the dust jacket. Small loss to the lower-left corner of the rear cover. Obi present and intact with full text legible. Overall the jacket retains its bold graphic character.\u003cbr\u003e- Covers \u0026amp; Spine: Firm and square.\u003cbr\u003e- Binding: Tight, secure, and fully intact.\u003cbr\u003e- Interior \u0026amp; Pages: Age-toning (browning) to pages throughout — entirely consistent with paper of this era. No inscriptions, no underlining, no annotations.\u003cbr\u003e- *Please carefully inspect all high-resolution listing photos to verify the exceptional vintage condition.*\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65553134322013,"sku":null,"price":45.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_87502.jpg?v=1786531070"},{"product_id":"アルテュウル-ランボオ-酔ひどれ船","title":"Arthur Rimbaud: Yoidore Fune — Trans. Shinjo Kazuichi, Shirakaba Shobo 1948 (Showa 23)","description":"\u003cp\u003e\u003cstrong\u003e[PRODUCT SPECIFICATIONS]\u003c\/strong\u003e\u003cbr\u003e- Author: Arthur Rimbaud (アルテュウル・ランボオ)\u003cbr\u003e- Title: 酔ひどれ船 (Yoidore Fune) — Japanese translation of Rimbaud's collected works including \u003cem\u003eLe Bateau Ivre\u003c\/em\u003e\u003cbr\u003e- Translator: Shinjo Kazuichi (新城和一)\u003cbr\u003e- Publisher: Shirakaba Shobo (白樺書房)\u003cbr\u003e- Year Published: 1948 (Showa 23)\u003cbr\u003e- Language: Japanese\u003cbr\u003e- Format: Hardcover with dust jacket, 201 pages, 13 × 18 cm\u003cbr\u003e- Inclusions: None\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[OVERVIEW]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eArthur Rimbaud abandoned poetry at nineteen. By then he had already written everything: \u003cem\u003eLe Bateau Ivre\u003c\/em\u003e, \u003cem\u003eUne Saison en Enfer\u003c\/em\u003e, the \u003cem\u003eIlluminations\u003c\/em\u003e. The body of work he left behind — composed between the ages of fifteen and nineteen — detonated the foundations of French verse and sent shockwaves through every subsequent generation of poets, from the Surrealists to the Beats. No poet has been more imitated, more mythologized, or more impossible to translate.\u003c\/p\u003e\u003cp\u003eThis 1948 Shirakaba Shobo edition — translated by Shinjo Kazuichi and titled after Rimbaud's most celebrated single poem — belongs to the first wave of serious Rimbaud scholarship in postwar Japan, when the poet's radical vision found an immediate resonance among a generation confronting the ruins of one world and the uncertain shape of another. The dust jacket — cream ground with bold red vertical title typography and a deep crimson panel of arabesque floral ornament — is a quietly distinguished piece of late-1940s Japanese book design, its decorative vocabulary at elegant odds with the incendiary content within.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eWhile the text is printed in Japanese, you can easily read and study this historic book using modern smartphone AI tools! By taking a photo of any page with your smartphone and using free apps like Google Lens, ChatGPT, or Google Translate, the embedded AI will instantly scan and translate the text on your screen layout. Language is no longer a barrier to owning and enjoying this rare piece of international history.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[WHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e1. \u003cstrong\u003eHistorical \u0026amp; Literary Value\u003c\/strong\u003e — A 1948 Japanese edition of Rimbaud — published three years after the end of the war, in the first flush of Japan's postwar intellectual reopening — is a primary document of the era. Rimbaud's influence on Japanese poetry and counterculture runs deep; this is one of the earliest postwar translations.\u003c\/p\u003e\u003cp\u003e2. \u003cstrong\u003eVisual \u0026amp; Artistic Value\u003c\/strong\u003e — The dust jacket's cream ground, red calligraphic title, and deep crimson arabesque panel create a design of restrained beauty entirely characteristic of late-1940s Japanese publishing at its most considered.\u003c\/p\u003e\u003cp\u003e3. \u003cstrong\u003eRarity\u003c\/strong\u003e — Postwar Japanese editions of Rimbaud from 1948 in collectible condition are seldom encountered outside Japan. This is a volume sought by collectors of French poetry, Japanese literary history, and mid-century book design alike.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[CONDITION]\u003c\/strong\u003e\u003cbr\u003eGood Vintage Condition — Honest Survivor\u003c\/p\u003e\u003cp\u003e- Dust Jacket: Soiling and age-toning (foxing) to the dust jacket, consistent with nearly 80 years of age. The design and typography remain fully legible and characterful.\u003cbr\u003e- Covers \u0026amp; Spine: Firm and square.\u003cbr\u003e- Binding: Tight, secure, and fully intact.\u003cbr\u003e- Interior \u0026amp; Pages: Age-toning (browning\/foxing) throughout the text block — entirely consistent with paper of this era. No inscriptions, no underlining, no annotations.\u003cbr\u003e- *Please carefully inspect all high-resolution listing photos to verify the exceptional vintage condition.*\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65553552048477,"sku":null,"price":45.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8889.jpg?v=1786532736"},{"product_id":"ray-cummings-time-machine-28000-shonen-shojo-sekai-sf-bungaku-zenshu-vol-4-akane-shobo-1974","title":"Ray Cummings: The Man Who Mastered Time — Time Machine 28000 Akane Shobo 1974, Shonen Shojo SF Zenshu Vol.4","description":"\u003cp\u003e\u003cstrong\u003e[PRODUCT SPECIFICATIONS]\u003c\/strong\u003e\u003cbr\u003e- Author: Ray Cummings (レイ・カミングス)\u003cbr\u003e- Title: タイムマシン28000年 (Time Machine 28000-nen) — Japanese adaptation of \u003cem\u003eThe Man Who Mastered Time\u003c\/em\u003e (1924)\u003cbr\u003e- Series: 少年少女世界SF文学全集 Vol. 4 (Shonen Shojo Sekai SF Bungaku Zenshu, No. 4)\u003cbr\u003e- Translator: Saito Hakuko (斎藤伯好)\u003cbr\u003e- Illustrations: Arai Sonoko (新井苑子)\u003cbr\u003e- Publisher: Akane Shobo (あかね書房)\u003cbr\u003e- Year Published: 1974 (Showa 49) — 9th Printing\u003cbr\u003e- Language: Japanese\u003cbr\u003e- Format: Hardcover with dust jacket, 247 pages, Shiro-roku-ban (A5 equivalent)\u003cbr\u003e- Inclusions: None\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[OVERVIEW]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eRay Cummings — a protegé of Thomas Edison who became one of the founding voices of American pulp science fiction — published \u003cem\u003eThe Man Who Mastered Time\u003c\/em\u003e in 1924, at the very dawn of the genre. A time-travel adventure of vertiginous ambition, it sends its hero 28,000 years into the future to encounter a world transformed beyond recognition: the future city of Angriz, the rebellion of the Bass people, aerial battles between time machines, and the first tentative steps toward a new civilization.\u003c\/p\u003e\u003cp\u003eThis Akane Shobo edition — part of the celebrated \u003cem\u003eShonen Shojo Sekai SF Bungaku Zenshu\u003c\/em\u003e series, Vol. 4 — presents Cummings's novel in a children's adaptation translated by Saito Hakuko, with interior illustrations by Arai Sonoko. The series was one of the defining SF publishing projects of 1970s Japan, introducing a generation of young readers to the canon of world science fiction. The dust jacket — black upper panel with bold red title typography dissolving into a swirling vortex of clock numerals and a transparent time machine piloted by a young hero — is a vivid artifact of 1970s Japanese SF illustration at its most exuberant.\u003c\/p\u003e\u003cp\u003eThe book's preface sets the tone with characteristic directness: \u003cem\u003e\"Would you like to travel to the past and meet yourself as a baby? Or would you rather journey thousands of years into the future, to see what Japan, what the world, what our descendants will look like? If only you could travel through time to any era you chose — this has been humanity's dream for a long, long time.\"\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eWhile the text is printed in Japanese, you can easily read and study this historic book using modern smartphone AI tools! By taking a photo of any page with your smartphone and using free apps like Google Lens, ChatGPT, or Google Translate, the embedded AI will instantly scan and translate the text on your screen layout. Language is no longer a barrier to owning and enjoying this rare piece of international history.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[WHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e1. \u003cstrong\u003eHistorical \u0026amp; Literary Value\u003c\/strong\u003e — Ray Cummings is a foundational figure in American SF, and this 1974 Akane Shobo edition — reaching its 9th printing, a testament to its popularity — is a primary document of Japan's 1970s SF boom and the golden age of children's SF publishing.\u003c\/p\u003e\u003cp\u003e2. \u003cstrong\u003eVisual \u0026amp; Artistic Value\u003c\/strong\u003e — The dust jacket illustration — a swirling time-vortex of clock numerals in green, yellow, and orange, with a transparent capsule carrying its young pilot — is a superb example of 1970s Japanese SF cover art, full of the era's optimistic, kinetic energy.\u003c\/p\u003e\u003cp\u003e3. \u003cstrong\u003eCollectibility\u003c\/strong\u003e — Complete sets and individual volumes of the \u003cem\u003eShonen Shojo Sekai SF Bungaku Zenshu\u003c\/em\u003e series are actively collected by Japanese SF enthusiasts and nostalgia collectors worldwide. Vol. 4 with intact dust jacket is increasingly difficult to find in good condition.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[CONDITION]\u003c\/strong\u003e\u003cbr\u003eGood Vintage Condition — Honest Survivor\u003c\/p\u003e\u003cp\u003e- Dust Jacket: Small tear and scuffing to the upper edge of the dust jacket. Age-toning and light soiling consistent with 50 years of use.\u003cbr\u003e- Covers \u0026amp; Spine: Firm and square.\u003cbr\u003e- Binding: Tight, secure, and fully intact.\u003cbr\u003e- Interior \u0026amp; Pages: Light age-toning (yellowing) to page edges (fore-edge). Tape repair mark on the inside front cover. No inscriptions, no underlining.\u003cbr\u003e- *Please carefully inspect all high-resolution listing photos to verify the exceptional vintage condition.*\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65553795121501,"sku":null,"price":60.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8755.jpg?v=1786533744"},{"product_id":"bonny-cride","title":"David Newman \u0026 Robert Benton: Bonnie and Clyde — Oretachi ni Ashita wa Nai, Trans. Mitani Kisao, Futami Shobo 1973","description":"\u003cp\u003e\u003cstrong\u003e[PRODUCT SPECIFICATIONS]\u003c\/strong\u003e\u003cbr\u003e- Author: David Newman (デビッド・ニューマン) \u0026amp; Robert Benton (ロバート・ベントン)\u003cbr\u003e- Title: BONNIE AND CLYDE — 俺たちに明日はない (Oretachi ni Ashita wa Nai)\u003cbr\u003e- Translator: Mitani Kisao (三谷茌沙夫)\u003cbr\u003e- Publisher: Futami Shobo (二見書房)\u003cbr\u003e- Year Published: 1973 (Showa 48) — First Edition\u003cbr\u003e- Language: Japanese\u003cbr\u003e- Format: Hardcover with dust jacket and obi, Warner Bros.-Seven Arts \/ Futami Shobo authorized edition\u003cbr\u003e- Inclusions: Obi (band) present; film stills and historical photographs throughout\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[OVERVIEW]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eBonnie and Clyde\u003c\/em\u003e — directed by Arthur Penn and released in 1967 — did not merely depict an outlaw couple. It detonated American cinema. Written by David Newman and Robert Benton, the screenplay fused the French New Wave's formal audacity with the raw violence of the American gangster tradition, producing a film that the studios feared, the critics divided over, and the public made into a cultural phenomenon. Warren Beatty and Faye Dunaway became icons. The film's final ambush — a slow-motion ballet of bullets — entered the permanent vocabulary of cinema.\u003c\/p\u003e\n\u003cp\u003eIn Japan, the film was released under the title \u003cstrong\u003e「俺たちに明日はない」\u003c\/strong\u003e — \u003cem\u003eOretachi ni Ashita wa Nai\u003c\/em\u003e, \"We Have No Tomorrow\" — and this Japanese title is itself a masterwork of translation. Where the American title names two individuals, the Japanese title speaks in the first-person plural: \u003cem\u003ewe\u003c\/em\u003e. It transforms a story about Bonnie and Clyde into a statement about an entire generation — the young, the reckless, the doomed. In the Japan of the early 1970s, still reverberating from the collapse of the student movement and the disillusionment of the postwar dream, those four words landed with the force of a manifesto. 俺\u003cem\u003eたちに明日はない\u003c\/em\u003e became one of the most resonant film titles in Japanese cinema history.\u003c\/p\u003e\n\u003cp\u003eThis 1973 Futami Shobo first edition — authorized by Warner Bros.-Seven Arts and arranged through Charles E. Tuttle, Inc., Tokyo — is far more than a novelization. Its illustrated pages juxtapose two distinct realities: the glamorous Warner Bros. production stills of Beatty and Dunaway, and — in a section captioned \u003cem\u003e「実際に存在したボニーとクライド」\u003c\/em\u003e (\"The Real Bonnie and Clyde\") — authentic historical photographs of the actual outlaws. The collision of Hollywood myth and Depression-era documentary reality on the same page is one of the most striking editorial decisions in Japanese film publishing of the era. The back cover carries endorsements from \u003cem\u003eTime\u003c\/em\u003e, \u003cem\u003eNewsweek\u003c\/em\u003e, \u003cem\u003eLife\u003c\/em\u003e, and \u003cem\u003eL'Express\u003c\/em\u003e, with the obi spine reading: \u003cem\u003e「烈しく美しい愛と死！」\u003c\/em\u003e — \"A fierce and beautiful love and death!\"\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWhile the text is printed in Japanese, you can easily read and study this historic book using modern smartphone AI tools! By taking a photo of any page with your smartphone and using free apps like Google Lens, ChatGPT, or Google Translate, the embedded AI will instantly scan and translate the text on your screen layout. Language is no longer a barrier to owning and enjoying this rare piece of international history.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[WHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1. \u003cstrong\u003eHistorical \u0026amp; Cultural Value\u003c\/strong\u003e — \u003cem\u003eBonnie and Clyde\u003c\/em\u003e (1967) is one of the defining films of New Hollywood. Its Japanese title — 俺\u003cem\u003eたちに明日はない\u003c\/em\u003e — became a cultural touchstone in its own right, capturing the generational despair of early 1970s Japan with devastating precision. This 1973 first edition is a primary document of that moment.\u003c\/p\u003e\n\u003cp\u003e2. \u003cstrong\u003eVisual \u0026amp; Documentary Value\u003c\/strong\u003e — The book's illustrated sections are exceptional: Warner Bros. production stills of Beatty and Dunaway alongside authentic historical photographs of the real Bonnie Parker and Clyde Barrow, captioned side by side. Myth and history, Hollywood and the Depression, on the same page. The back cover reproduces international press coverage from \u003cem\u003eTime\u003c\/em\u003e, \u003cem\u003eNewsweek\u003c\/em\u003e, \u003cem\u003eLife\u003c\/em\u003e, and \u003cem\u003eL'Express\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e3. \u003cstrong\u003eRarity\u003c\/strong\u003e — First editions of this Futami Shobo authorized edition with intact obi are seldom encountered. The combination of dust jacket, obi, film stills, and historical photographs in good condition represents an exceptional survival for a 50-year-old Japanese film book.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[CONDITION]\u003c\/strong\u003e\u003cbr\u003eGood Vintage Condition — First Edition, With Obi\u003c\/p\u003e\n\u003cp\u003e- Dust Jacket \u0026amp; Obi: Obi present and intact with full text legible. Light age-toning consistent with 50 years of age.\u003cbr\u003e- Covers \u0026amp; Spine: Firm and square.\u003cbr\u003e- Binding: Tight, secure, and fully intact.\u003cbr\u003e- Interior \u0026amp; Pages: Film stills and historical photographs in good condition. No inscriptions, no underlining.\u003cbr\u003e- *Please carefully inspect all high-resolution listing photos to verify the exceptional vintage condition.*\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65554428428637,"sku":null,"price":100.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8601.jpg?v=1786537412"},{"product_id":"finnish-glass-art-sparkle-color-modern-design-2023-exhibition-catalog","title":"Finnish Glass Art Sparkle \u0026 Color Modern Design 2023 Exhibition Catalog","description":"\u003cp\u003e\u003cstrong\u003e[PRODUCT SPECIFICATIONS]\u003c\/strong\u003e\u003cbr\u003e- Title: フィンランド・グラスアート 輝きと彩りのモダンデザイン (Finnish Glass Art: Sparkle and Color in Modern Design)\u003cbr\u003e- Editors: 土田ルリ子 (Ruriko Tsuchida) \/ カイサ・コイヴィスト (Kaisa Koivisto)\u003cbr\u003e- Publisher: 国書刊行会 (Kokusho Kankokai)\u003cbr\u003e- Year Published: 2022 (November 1, 2022 — First Printing)\u003cbr\u003e- Language: Japanese with English section titles and designer names\u003cbr\u003e- Format: A4 oversized softcover \/ Official Exhibition Catalog\u003cbr\u003e- Pages: 232 pp., fully illustrated in color\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[OVERVIEW]\u003c\/strong\u003e\u003cbr\u003eThe official catalog for the touring exhibition \u003cem\u003eFinnish Glass Art: Sparkle and Color in Modern Design\u003c\/em\u003e, held at the Tokyo Metropolitan Teien Art Museum and other venues across Japan. Edited by Ruriko Tsuchida (Director, Toyama Glass Art Museum) and Kaisa Koivisto (former Chief Curator, Finnish Museum of Art and Design), this 232-page volume documents approximately 140 works spanning nine decades — from the emergence of Finnish art glass in the 1930s through the postwar golden age and into the contemporary era. Eight designers are profiled in depth across three chapters: the pioneers (Alvar \u0026amp; Aino Aalto, Gunnel Nyman), the golden-age masters (Kaj Franck, Tapio Wirkkala, Timo Sarpaneva, Oiva Toikka), and the contemporary generation (Markku Salo, Joonas Laakso). Supplemented by a full list of works, a chronology, and an essay on the collaboration between artists and glassmaking professionals.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003c\/strong\u003e\u003cbr\u003eWhile the primary text is in Japanese, section titles and designer names appear in English throughout. You can easily read and study this catalog using modern smartphone AI tools. By taking a photo of any page with Google Lens, ChatGPT, or Google Translate, the AI will instantly translate the text on your screen. Language is no longer a barrier to owning this important document of Finnish design history.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[CONDITION]\u003c\/strong\u003e\u003cbr\u003eGood — Clean and Presentable\u003cbr\u003e- Covers \u0026amp; Spine: Light shelf wear to the upper edges; a natural trace of handling consistent with a catalog that has been consulted. No creasing, no fading.\u003cbr\u003e- Binding: Tight and fully intact.\u003cbr\u003e- Interior \u0026amp; Pages: Clean throughout — no writing, no stamps, no tears. A solid, presentable copy.\u003cbr\u003e- *Please carefully inspect all high-resolution listing photos to verify condition.\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65560212898141,"sku":"FGA-2023-CAT","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8843.jpg?v=1786602681"},{"product_id":"london-fashion-best-86-visual-shop-guide-music-life-special-1986-londo-street-fashion","title":"London Fashion Best 86 Visual Shop Guide Music Life Special 1986 LONDO STREET FASHION","description":"\u003cp\u003e\u003cstrong\u003e[PRODUCT SPECIFICATIONS]\u003c\/strong\u003e\u003cbr\u003e- Title: London Fashion Best 86 — Visual Fashion Shop Guide \u003cbr\u003e- Publisher: Shinko Music  — \u003cbr\u003e- Year Published: February 15, 1986\u003cbr\u003e- Language: Japanese\u003cbr\u003e- Format: Large-format mook \/ fully illustrated in color\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[OVERVIEW]\u003c\/strong\u003e\u003cbr\u003eA time-capsule visual guide to London's most exciting fashion shops, published in February 1986 as a special issue of \u003cem\u003eMusic Life\u003c\/em\u003e — Japan's premier rock and pop music magazine. Subtitled “A Visual Shop Guide for the New Age,” this large-format mook dispatched photographers and writers to the streets of London to document the boutiques, designers, and subcultures that were defining global fashion at the height of the post-punk and New Wave era. King's Road, Kensington High Street, Carnaby Street, and beyond — each district is mapped and surveyed with full-color photography, shop addresses, opening hours, and nearest tube stations. Shops featured include Robot Shoes, Wild (Kensington), and dozens of others that dressed the musicians, stylists, and street kids of mid-1980s London. An irreplaceable primary document of the moment when London street fashion conquered the world.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003c\/strong\u003e\u003cbr\u003eWhile the text is printed in Japanese, the shop names, addresses, and district names are in English throughout. You can easily read and navigate this guide using modern smartphone AI tools — Google Lens, ChatGPT, or Google Translate will instantly translate any page. Language is no longer a barrier to owning this rare slice of 1986 London.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[WHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM]\u003c\/strong\u003e\u003cbr\u003e1. \u003cstrong\u003eHistorical \u0026amp; Cultural Value:\u003c\/strong\u003e A street-level document of London fashion at its most electric — 1986, the year post-punk style crossed over into mainstream global culture. The shops, faces, and garments captured here are now the stuff of fashion history.\u003cbr\u003e2. \u003cstrong\u003eVisual Value:\u003c\/strong\u003e Fully color-illustrated throughout in large format, with candid street photography, shop interiors, and garment close-ups that no fashion archive can replicate.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[CONDITION]\u003c\/strong\u003e\u003cbr\u003eVery Good — Excellent Vintage Survival\u003cbr\u003e- Covers \u0026amp; Spine: Very well preserved with only the lightest signs of age. Covers remain bright and clean; spine intact with no splitting.\u003cbr\u003e- Binding: Tight and fully secure.\u003cbr\u003e- Interior \u0026amp; Pages: Clean throughout — no writing, no stamps, no tears. Color reproduction remains vivid.\u003cbr\u003e- *Please carefully inspect all high-resolution listing photos to verify condition.\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65571122872669,"sku":"LFB-86-MOOK","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/2_61_2_15_36_3_498_MUSIC_LIFE_2_ORDON_TASHION_VISUAL_FASHION_SHOP_GUIDE.jpg?v=1786678311"},{"product_id":"flight-jacket-all-catalog-1993-marilyn-monroe-cover-ma-1-usaf-vintage-world-mook-41-japan","title":"Flight Jacket All Catalog 1993 Marilyn Monroe Cover MA-1 USAF Vintage World Mook 41 Japan","description":"\u003cp\u003e\u003cstrong\u003e[PRODUCT SPECIFICATIONS]\u003c\/strong\u003e\u003cbr\u003e- Title: 飛行服総目録 フライトジャケットオールカタログ (Flight Jacket All Catalog — Complete Guide to Authentic Flight Jackets)\u003cbr\u003e- Series: ワールドムック 41 (World Mook No. 41)\u003cbr\u003e- Publisher: 世界文化社 (Sekaibunka-sha)\u003cbr\u003e- Year Published: 1993 (Heisei 5) — December 20, 1993\u003cbr\u003e- Language: Japanese\u003cbr\u003e- Format: Large-format mook \/ fully illustrated in color\u003cbr\u003e- Weight: 855g\u003cbr\u003e- Inclusions: None noted\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[OVERVIEW]\u003c\/strong\u003e\u003cbr\u003eThe definitive Japanese buyer’s guide to authentic flight jackets, published in December 1993 as World Mook No. 41. The cover image — Marilyn Monroe photographed in a USAF flight jacket during her 1954 USO tour of Korea — sets the tone for a volume that treats military flight gear as both functional artifact and cultural icon. Inside, the mook provides an exhaustive survey of USAF test samples (MA-1, B-10, B-15D), vintage originals, and the Japanese replica market, with detailed photography of labels, hardware, and construction details that serious collectors require. Includes a complete purchase guide identifying where to source authentic pieces in Japan, with pricing current to 1993. An essential reference for MA-1 and flight jacket collectors, and a vivid document of Japan’s military surplus and vintage Americana obsession at its peak.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003c\/strong\u003e\u003cbr\u003eWhile the text is in Japanese, model designations, brand names, and technical specifications appear in English throughout. Google Lens, ChatGPT, or Google Translate will handle the rest instantly. Language is no longer a barrier to owning this rare collector’s reference.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[WHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM]\u003c\/strong\u003e\u003cbr\u003e1. \u003cstrong\u003eHistorical \u0026amp; Reference Value:\u003c\/strong\u003e The most comprehensive Japanese-language survey of USAF flight jackets published in the 1990s — covering test samples, originals, and the replica market with a depth of detail unavailable elsewhere. Still cited by collectors today.\u003cbr\u003e2. \u003cstrong\u003eVisual Value:\u003c\/strong\u003e Large-format, fully color-illustrated throughout, with close-up photography of labels, zippers, patches, and construction details essential for authentication and identification.\u003cbr\u003e3. \u003cstrong\u003eCultural Rarity:\u003c\/strong\u003e The Marilyn Monroe cover — drawn from her iconic 1954 Korea USO photographs — makes this one of the most visually striking mooks in the Japanese military fashion genre. Surviving copies in Very Good condition are increasingly scarce.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[CONDITION]\u003c\/strong\u003e\u003cbr\u003eVery Good — Excellent Vintage Survival\u003cbr\u003e- Covers \u0026amp; Spine: Slightly scratch  on covers otherwise bright and clean, spine intact with no splitting or fading.\u003cbr\u003e- Binding: Tight and fully secure.\u003cbr\u003e- Interior \u0026amp; Pages: Clean throughout — no writing, no stamps, no tears. Color reproduction remains vivid.\u003cbr\u003e- *Please carefully inspect all high-resolution listing photos to verify condition.\u003c\/p\u003e","brand":"World Mook \/ Sekaibunka-sha","offers":[{"title":"Default Title","offer_id":65571510026589,"sku":"FJC-1993-MOOK41","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8394.jpg?v=1786684422"},{"product_id":"cosmic-wonder-vacant-elein-fleiss-lhiver","title":"Elein Fleiss L’Hiver — COSMIC WONDER \u0026 Vacant Publication Risograph Japan","description":"\u003cp\u003e- Author: Elein Fleiss\u003cbr\u003e- Title: L’Hiver (The Winter)\u003cbr\u003e- Publisher: COSMIC WONDER \u0026amp; Vacant (Japan)\u003cbr\u003e- Language: Bilingual — English and Japanese\u003cbr\u003e- Format: Softcover booklet \/ Risograph-printed cover \/ Vinyl sleeve\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe three women I photographed are friends who live in my village or the surrounding area. Like me, they, too, moved to the village from their respective hometowns. I had an image in my mind of women walking through a winter landscape wearing off-white woolen clothes, and that’s where I started. Everything else—the post-Industrial Revolution landscape, the nuclear power plant, and even the makeup—was a gift of chance that changed the direction of the project. By “gifts of chance,” I mean that I decided to incorporate the unexpected. — Ellen Fries\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003ePhotographs and a booklet from the “L’Hiver” exhibition held in the fall of 2024 at Vacant\/Centre (Tokyo) and Elbereth (Kyoto). The photographs overlay post-Industrial Revolution imagery onto scenes of her friends living around the village where she resides and her life surrounded by nature. The photographs are inkjet prints on bamboo paper. The booklet interweaves her diary—written as she reflects on the present and recalls the past dozen or so years—with the photographs presented in this exhibition. The cover is a two-color risograph print.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS]\u003c\/strong\u003e\u003cbr\u003eThe text appears in both English and Japanese throughout — no translation tools required for English-speaking readers.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[CONDITION]\u003c\/strong\u003e\u003cbr\u003eVery Good — Excellent.\u003cbr\u003e- Vinyl Sleeve: Clean and intact; protective film in excellent condition.\u003cbr\u003e- Cover: Risograph-printed magenta\/violet cover bright and vivid; minor handling consistent with the nature of risograph ink (as noted by the publisher). No tears, no creasing.\u003cbr\u003e- Binding: Tight and fully secure.\u003cbr\u003e- Interior \u0026amp; Pages: Clean throughout — no writing, no stamps, no tears.\u003cbr\u003e- *Please carefully inspect all high-resolution listing photos to verify condition.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eNote: As stated by the publisher, the risograph cover ink may transfer to hands or other surfaces. Store in the provided vinyl sleeve.\u003c\/em\u003e\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65571611279709,"sku":"EF-LHIVER-CW","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8719.jpg?v=1786685634"},{"product_id":"h-r-giger-n-y-city-treville-japanese-edition-1988-w-poster-booklet-ugly-publishing","title":"H.R. Giger N.Y. City — Treville Japanese Edition 1988 w\/ Poster \u0026 Booklet Ugly Publishing","description":"\u003cp\u003e\u003cstrong\u003e[PRODUCT SPECIFICATIONS]\u003c\/strong\u003e\u003cbr\u003e- Artist: H.R. Giger\u003cbr\u003e- Title: N.Y. City\u003cbr\u003e- Publisher: Treville (Japan) — Japanese edition, 1988\u003cbr\u003e- Original Edition: Ugly Publishing, 1981 (Giger’s own imprint)\u003cbr\u003e- Language: Japanese (commentary booklet) \/ No text in main art book\u003cbr\u003e- Format: Oversized hardcover art book, approx. 42 × 30 cm\u003cbr\u003e- Inclusions: Exclusive bonus poster (Japan release only) + Japanese commentary booklet.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[OVERVIEW]\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eN.Y. City\u003c\/em\u003e is one of H.R. Giger’s most celebrated bodies of work — a series of large-format biomechanical paintings documenting his visceral response to New York, executed in the years following the global success of \u003cem\u003eAlien\u003c\/em\u003e (1979). This Japanese edition, published by Treville in 1988, is among the most desirable configurations in which the work exists: Treville sourced the original oversized printed sheets from Giger’s own Ugly Publishing (1981 first edition) and rebound them within a newly designed custom Japanese outer cover, preserving the full scale and print quality of the original while adding exclusive Japan-market content. The result is a hybrid object — part first-edition original, part Japanese collector’s edition — that satisfies both the bibliophile and the Giger specialist. Accompanied by an exclusive bonus poster issued only with the Japanese release and a Japanese commentary booklet.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS]\u003c\/strong\u003e\u003cbr\u003eThe main art book requires no translation — Giger’s imagery speaks without language. The Japanese commentary booklet can be read instantly via Google Lens or ChatGPT. The poster and art pages are entirely visual.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[WHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM]\u003c\/strong\u003e\u003cbr\u003e1. \u003cstrong\u003eDual Provenance:\u003c\/strong\u003e The interior pages are original 1981 Ugly Publishing stock — printed under Giger’s own supervision — making this simultaneously a first-edition artifact and a rare Japanese collector’s edition. No other configuration combines both.\u003cbr\u003e2. \u003cstrong\u003eOversized Format:\u003c\/strong\u003e At approximately 42 × 30 cm, the book presents Giger’s biomechanical paintings at a scale that smaller reprints cannot replicate. The physical presence of the object is inseparable from the work itself.\u003cbr\u003e3. \u003cstrong\u003eJapan-Exclusive Inclusions:\u003c\/strong\u003e The bonus poster and Japanese commentary booklet were produced exclusively for the Treville release and do not accompany any other edition. Complete sets with both items intact are exceptionally scarce.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[CONDITION]\u003c\/strong\u003e\u003cbr\u003eVery Good — Excellent Survival\u003cbr\u003e- Outer Cover (Treville): Clean and crisp, no tears, no creasing.\u003cbr\u003e- Interior Pages (Ugly Publishing 1981 stock): Clean throughout — no writing, no stamps, no tears. Print quality fully intact.\u003cbr\u003e- Bonus Poster: Included, good condition.\u003cbr\u003e- Japanese Commentary Booklet: Included, good condition.\u003cbr\u003e- *Please carefully inspect all high-resolution listing photos to verify condition.\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65572767334749,"sku":"GIGER-NYC-TREVILLE-1988","price":60.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8432.jpg?v=1786700286"},{"product_id":"nan-goldin-the-other-side-kawade-shobo-1993-first-edition-first-printing-hardcover-japan","title":"Nan Goldin The Other Side — Kawade Shobo 1993 First Edition First Printing Hardcover Japan","description":"\u003cp\u003e\u003cstrong\u003e[PRODUCT SPECIFICATIONS]\u003c\/strong\u003e\u003cbr\u003e- Photographer: Nan Goldin\u003cbr\u003e- Title: The Other Side\u003cbr\u003e- Publisher: 河出書房新社 (Kawade Shobo-sha), Tokyo\u003cbr\u003e- Year Published: 1993 — First Edition, First Printing\u003cbr\u003e- Language: Japanese (captions and essay) \/ English (plate titles)\u003cbr\u003e- Format: Hardcover, 27.5 × 22.5 cm\u003cbr\u003e- Pages: 144 pp., all color photographs\u003cbr\u003e- Inclusions: None noted\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[OVERVIEW]\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe Other Side\u003c\/em\u003e is Nan Goldin’s landmark document of drag queens, transgender women, and gender-nonconforming individuals photographed across two decades — from Boston and New York in the early 1970s through Berlin and Bangkok in the early 1990s. Where Goldin’s \u003cem\u003eThe Ballad of Sexual Dependency\u003c\/em\u003e mapped the intimate violence of heterosexual love, \u003cem\u003eThe Other Side\u003c\/em\u003e turns toward beauty, performance, and the radical act of self-creation: her subjects are not observed but celebrated, rendered in saturated color with the same unflinching tenderness that defines all of her work. This Japanese first edition, published by Kawade Shobo-sha in 1993 — the same year as the original Scalo\/Editions du Seuil release — is among the earliest printings of the book in any language, and the only edition produced for the Japanese market. A primary document of queer visual culture at a moment of acute historical urgency, issued in the shadow of the AIDS crisis that had already claimed many of Goldin’s closest subjects.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003c\/strong\u003e\u003cbr\u003ePlate titles appear in English throughout. The Japanese essay and captions can be read instantly via Google Lens or ChatGPT. The photographs require no translation.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[WHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM]\u003c\/strong\u003e\u003cbr\u003e1. \u003cstrong\u003eFirst Edition, First Printing:\u003c\/strong\u003e The Japanese Kawade Shobo first edition (1993) is a simultaneous first — published in the same year as the Western editions — making it a true first-printing artifact rather than a later reprint. Copies in this condition are increasingly scarce.\u003cbr\u003e2. \u003cstrong\u003eCultural \u0026amp; Historical Significance:\u003c\/strong\u003e \u003cem\u003eThe Other Side\u003c\/em\u003e is one of the defining photobooks of queer visual culture and a cornerstone of any serious Nan Goldin collection. Its importance has only grown since Goldin’s 2022 Academy Award win and the renewed global attention to her practice.\u003cbr\u003e3. \u003cstrong\u003eJapan-Exclusive Edition:\u003c\/strong\u003e Produced specifically for the Japanese market with Japanese text, this edition occupies a distinct place in the book’s publication history and is not interchangeable with the Western printings.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[CONDITION]\u003c\/strong\u003e\u003cbr\u003eVery Good — Solid Collector’s Copy\u003cbr\u003e- Cover: Very good; rear cover shows slight fading consistent with thirty years of storage — a natural patina rather than damage.\u003cbr\u003e- Spine: Intact, no splitting.\u003cbr\u003e- Binding: Tight and fully secure.\u003cbr\u003e- Endpapers: Slight sun fading — characteristic of the period and storage; does not affect the plates.\u003cbr\u003e- Interior \u0026amp; Pages: Clean throughout — no writing, no stamps, no tears.\u003cbr\u003e- *Please carefully inspect all high-resolution listing photos to verify condition.\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65572825006429,"sku":"NG-OTHERSIDE-1993-1ST","price":90.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8908.jpg?v=1786700965"},{"product_id":"bram-stoker-majin-dracula-1967-chuu-ichi-bunko-no-4","title":"Dracula — Bram Stoker 1967 First ed Nakajima Kotaro. Chuu-Ichi Bunko No. 4 Gothic-Horror","description":"\u003cp\u003e\u003cstrong\u003e[PRODUCT SPECIFICATIONS]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eOriginal Author:\u003c\/strong\u003e Bram Stoker\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eAdaptation :\u003c\/strong\u003e Nakajima Kotaro \u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e 魔人ドラキュラ (Majin Dracula)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSeries:\u003c\/strong\u003e (Chuu-Ichi Bunko), No. 4\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Ohbunsha \u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eYear Published:\u003c\/strong\u003e 1967 (Showa 42)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eIssued as:\u003c\/strong\u003e Third supplementary booklet (第3付録) to \u003cem\u003eChuu-Ichi Jidai\u003c\/em\u003e  July 1967 issue\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFormat:\u003c\/strong\u003e Bunkoban  approx. 64 pages. Two-color cover (red and black); black-and-white interior illustrations signed \"HID\/URA\".\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLanguage:\u003c\/strong\u003e Japanese\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInclusions:\u003c\/strong\u003e Original publisher's clear protective cover (as issued), still present\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003e[OVERVIEW]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIn 1967, Obunsha — one of Japan's leading educational publishers — issued this remarkable object: a pocket-sized adaptation of Bram Stoker's \u003cem\u003eDracula\u003c\/em\u003e, retold for Japanese junior high school students by Nakajima Kotaro, one of the most distinguished figures in Japanese mystery and detective fiction criticism. Distributed not through bookshops but as a free supplement tucked inside the July 1967 issue of \u003cem\u003eChuu-Ichi Jidai\u003c\/em\u003e (中一時代), a mass-circulation study magazine for first-year junior high students, this booklet was never sold commercially and never reprinted. It existed, briefly, in the hands of a generation of thirteen-year-olds — and almost none of it survived.\u003c\/p\u003e\n\u003cp\u003eThe cover — a stark, two-color composition of crimson and black, depicting a young woman clutching a crucifix as Dracula looms behind her — is a masterpiece of low-budget graphic design: lurid, urgent, and entirely effective. The interior illustrations, signed by the artist \"HID\/URA\", capture the gothic atmosphere of the Carpathian journey with a confident, expressionist line. Nakajima Kotaro's adaptation strips Stoker's sprawling epistolary novel to its essential terror, delivering it in clean, accessible prose that retains the dread of the original.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWhile the text is printed in Japanese, you can easily read and study this historic book using modern smartphone AI tools. By taking a photo of any page with your smartphone and using free apps like Google Lens, ChatGPT, or Google Translate, the embedded AI will instantly scan and translate the text on your screen layout. Language is no longer a barrier to owning and enjoying this rare piece of Japanese publishing history.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[WHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM]\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\n\u003cstrong\u003eHistorical \u0026amp; Documentary Value:\u003c\/strong\u003e Supplementary booklets issued with Japanese study magazines of the 1960s are among the most ephemeral objects in postwar Japanese publishing. Distributed free, read once, and discarded, they survive in vanishingly small numbers. A copy in collectible condition — retaining its vivid two-color cover and complete interior — is a genuine rarity. Online bibliographic records for this specific title are almost nonexistent.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLiterary \u0026amp; Cultural Value:\u003c\/strong\u003e Nakajima Kotaro (1917–2004) was not a hack adapter: he was a founding figure of Japanese mystery criticism, editor of landmark anthologies, and a scholar of international standing. His decision to retell \u003cem\u003eDracula\u003c\/em\u003e for junior high students in 1967 — the same year Japan's horror publishing boom was gathering force — places this booklet at the intersection of literary history and popular culture.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eVisual Value:\u003c\/strong\u003e The two-color cover design and the \"HID\/URA\" interior illustrations represent a distinct strand of Japanese commercial illustration of the mid-Showa period — bold, economical, and deeply atmospheric. As a graphic artifact, this booklet stands entirely on its own.\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003e[CONDITION]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eGood Vintage Condition — Outstanding Survival for a Disposable Supplementary Booklet\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eCover:\u003c\/strong\u003e The two-color (red and black) cover retains strong graphic impact. Protected by the original publisher's clear plastic cover, which remains present — an exceptional survival detail that speaks to the care with which this copy has been kept. Light age-toning to edges consistent with nearly 60 years of natural patina. No tears, no writing.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBinding:\u003c\/strong\u003e Secure and intact. Staple-bound, as issued.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePage Edges (Fore-edge):\u003c\/strong\u003e Minor age-spotting to the fore-edge — light and entirely consistent with the age and paper quality of the original printing.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eEndpapers:\u003c\/strong\u003e Minor age-toning to the endpapers — a natural characteristic of mid-Showa newsprint. No writing, no stamps, no ownership marks.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterior \u0026amp; Pages:\u003c\/strong\u003e No writing, no clipping, no damage. The text and illustrations are clean and fully legible throughout.\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003ePlease carefully inspect all high-resolution listing photos to verify the exceptional vintage condition.\u003c\/em\u003e\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65596262613341,"sku":null,"price":300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8914.jpg?v=1786933710"}],"url":"https:\/\/shady2grove.com\/collections\/new-arrivals.oembed","provider":"shady2grove","version":"1.0","type":"link"}